Walter Goodman (artist)

1754:. Drops of blood were also found on some of Goodman's clothing. Amazingly, Goodman was not arrested for this crime, simply requested to report to the police station to leave a statement. It was assumed that the murderer had thrown the weapon through Goodman's window. The victim, was Pancho Roblejo – Goodman stated that he must have decided to turn up early for the final sitting. Roblejos had been seen that night arguing first with his love-rival, and later with a man who owed him a sum of money – and apparently this man was the culprit. In fact Roblejo's rival was instrumental in bringing the culrpit to justice. Goodman sent the completed portrait to the bereaved lady to whom it reportedly provided some consolation. 1750:

voices outside his window (which was simply a hole in the wall with iron bars to keep out intruders). This commotion is accompanied by a loud thud from inside the room – he assumed something had fallen from a shelf. This was followed by total silence, so Goodman fell asleep again. Next morning he was awakened by urgent knocking upon his door. The district police inspector, who Goodman knew as one of Cuadras' relatives, explained that there was a body lying half on the steps to his balcony and half on the road. The man had been murdered. And there, in the room, they discovered

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of such large crowds, rather uncomfortable. The principle artists were the three Barrovier brothers – Benvenuto, Giuseppe, and Vittorio – said to be the linneal descendants of the original workers in Venetian glass many centuries before. The materials used in the preparation of the glass were a closely guarded secret. Goodman was not satisfied with his effort of depicting Benvenuto at work, so painted him at a sitting at Goodman's house. This painting was intended as a surprise gift for Benvenuto's wife back in

6283: 855: 688: 1523:, and he notes the wonder and excitement of the local inhabitants at the arrival of the ambassador's carriages and at the exotic occupants delivered to his home. By having his portrait painted, Kou Sung-Tao incurred the wrath and ridicule of his countrymen back home. To such an extent in fact that he returned the portrait to Goodman and requested his money back – which Goodman declined to do. Goodman states that he informed His Excellency 754: 973: 1000: 33: 1462:

behind. Goodman recorded that his cleaning lady almost ruined some of these works due to her over-zealousness and his own forgetfulness. The Emperor never sat for Goodman in person – all paintings were executed with help of the many photographs of Napoleon III that were to be found in London at the time. The paintings were intended for a Continental show and were destined to be shipped to

340: 2098: 1111: 1103: 1494: 1712:. Goodman is subsequently introduced to Russell, which leads to him sitting for Goodman in Brighton around 1888. Russell regales Goodman with tales from the US – he had crossed the Atlantic 24 times at that point. As was usual with his sitters, Goodman and Russell became great friends. They spent many a pleasant evening at Russell's home in 1645:, David Smith, John Carmichael (classical master at Edinburgh High School), J. P. Steele (doctor and journalist), and Walter's brother, Edward. Goodman notes how this sketch was useful later when he painted Hannay and Smith. Hannay became vice-consul of Barcelona around 1868 – a position he held until his untimely death at the age of 46. 878:. Kuo Tai-Tai also featured in a group portrait by Goodman, together with her young child and child's nurse. This painting was later taken back to China by the ambassador. Major General William Yorke-Moore sat for Goodman in 1879 and this portrait is now in a private collection at The Keep Military Museum, Dorchester, Dorset, England. 1637:

Courant and had warned Goodman that Hannay was not very talkative. The ice was finally broken between the two when Hannay's son came along to the sitting. Goodman and Hannay became friends and he writes of sketching the group of guests at one of Hannay's many social gatherings. On this occasion the guests included

1672:. Some of Dickens' seafaring experiences were derived from chats with the old boatmen on the jetty. Prior to this portrait being exhibited at the Royal Society of British Artists, after Collins' death in 1889, it was privately shown at Goodman's studio to a number of Collins' personal friends. These included 1929:

at London's Olympia (Goodman exhibited Printseller's Window at this exhibition). The heat was due to the furnaces that were kept burning day and night, enabling the Venetian craftsmen to carry out their trade in full view of the thousands of visitors. Goodman found the experience of painting in front

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sat for Goodman in Edinburgh in 1864. The picture was a three-quarter sized oil painting later displayed at the Roysl Scottish Academy, along with the David Smith painting. At the time Hannay sat for Goodman, he was editor of the Edinburgh Courant. Goodman's brother Edward was assistant editor at the

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The notable Spanish artist being Marià Fortuny, whom Goodman met in Florence in 1861. Goodman and Joaquin Cuadras struck up a friendship with the great Spanish artist in the early 1860s whilst they lived in Florence. Goodman relates how he sketched Fortuny without his knowledge, in 1861. Goodman says

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The night in question was during carnival season and the locals were celebrating around the Plaza de Armas (present-day Parque Céspedes) until late into the night. Goodman retired early as he had the final sitting with Roblejo the next day. During the night Goodman was woken from his slumber by loud

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being the portrait that now hangs in The Garrick Club. Goodman describes how his sitter fell off her stool and badly injured her ankle. The Jack Sheppard essay refers to her famous portrayal of the notorious 18th-century burglar and is a continuation of the description of the sitting for The Garrick

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in the actor's native land. There, Goodman witnessed many of Salvini's performances and was greatly impressed. Later Goodman saw the great man in performances at Drury Lane and Covent Garden. He first met Salvini privately fourteen years later at a dinner at The Savage Club in May 1875, chaired by

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as he describes them) of the comedian and also painted the scenery for the theatre at which he starred. The paintings were produced in an improvised studio in the lobby of the theatre, where painter and subject engaged in long conversations about Torrecillas' theatrical calling. Goodman translated

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Goodman describes his first meeting with Joaquín Cuadras at the Uffizi Palace in Florence. He manages to overcome his initial suspicion of foreigners and they strike up a great friendship. They travel to Cuba and Europe together, with Cuadras settling in Scotland for three years. Goodman retained

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Around 1859 Goodman was commissioned to produce a series of seven large (six feet by four feet) panoramic views illustrative of the Italian war of 1859, most of which would feature The French Emperor, Napoleon III. Two of these works were to be transparencies, designed to be artificially lit from

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with only one small row of houses and an open field opposite. One of Goodman's subjects was a former slave named Pancho Roblejo – who had since purchased his freedom. Roblejo intended the portrait to be a surprise gift to his intended. Employing rather dubious language (as he often does in these

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entitled "Artists Studios: As They Were and As They Are." In the piece Goodman makes it clear that he was on familiar terms (at least enough so as to have been able to visit a number of their studios first hand) with many of the great painters of the Victorian Age, six of whom are portrayed in

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in 1873. He continued to regale Goodman with stories of his many plays and successes at various theatres. Eventually, though, he falls into an almost trance-like state, awakening to recite lines from his various plays, oblivious to the fact that he was sitting for a portrait. This behaviour was

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From 1906 Goodman suffered from severe ill health, and was unable to continue painting. By 1908 he had fallen on hard times and in desperation wrote to the Jewish Chronicle asking for donations and financial assistance, giving his wife's Henfield address – even though by this time he had long

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a soldier, as by Sowler's attire and presence Goodman assumed him to be a man of the aristocracy. However, he is later pleased to ascertain that Sowler is in fact knighted and a well-respected newspaper propieter, therefore worthy of Goodman's brush. Indeed, he made an unsuccessful bid for

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The lady in question was one of the three wives of the Chinese ambassador. Her name was Kuo Tai-Tai. Goodman goes to great lengths to explain her exotic appearance and that of her small child, Ying-Sung. The (eighteen) sittings took place in 1879 at the Chinese legation at

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to paint his portrait. The minister in question's family name was Kuo Sung-Tao, and he held the official title of Kuo Ta-Jen. Goodman writes of the difficulties experienced while attempting to capture his subject's grand attire. The sittings took place at Goodman's home at

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broke out towards the end of 1868 – and Goodman's involvement in this forced him to flee Cuba. So abrupt was his departue from the island that many of the sketches and paintings which he and Cuadras had intended to transport to Europe, were left behind and never recovered.

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In contrast to James Hannay, Wilkie Collins was a very talkative, if less attractive (by his own admission) subject. The Collins portrait would take two years to complete. The sittings were interrupted by Goodman's severe illness in 1881 and Collins' own struggle with

984:, for 10 guineas, at the Liverpool Autumn Exhibition. That year the annual exhibition of the City of London Society of Artists moved from its premises at the Worshipful Company of Skinners on Dowgate Hill, to the old law courts at The Guildhall and Goodman submitted 1375:

Apart from living overseas for fourteen years, notably in Italy, Spain, Cuba, New York, and with family in Bradford and Edinburgh, Goodman lived with his parents and siblings at numerous central London addresses. In September 1887 he moved from

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parliament for the Conservative party in 1886. Goodman goes on to paint Sir Thomas, his wife Lady Sowler, and their daughter Mabel. Mabel is not the ideal sitter, craving constant entertainment. Goodman creates a story for her about a game of

500:, Cuba, working as an artist and journalist and painting theatrical sets. He also appeared in at least one stage production, putting his fluency in Spanish to good use. During his time in Cuba, Goodman contributed articles and letters to the 1913:. Goodman was seated close to Salvini and his son, as he spoke Italian. They discussed Salvini's love of music, especially opera. When Goodman enquires of the actor's leading lady in Florence, Clematina Cazzola, he replies sadly that 1597:. Goodman goes on to describe how the threesome visited the various bodegas around the Uffizi Palace. Their favourite haunt was Café Michael Angelo, in the Strada Nuova. The walls here were covered with al fresco murals, with the 1745:

babies can be purchased here for fifty dollars. It transpired that another gentleman had purchased Roblejo's bride-to-be when she was born, and when she reached her early teens this person requested her hand in marriage.

543:, under suspicion of making plans of the castle fortifications. They remained incarcerated until the English Vice-Consul, Mr F. W. Ramsden, supported by Cuadras' influential friends, interceded for their release. The 699:

included two articles by Goodman titled "Saved From a Wreck" and "Cuba Without a Master." In April of that year he wrote another article for the same magazine called "A Holiday in Cuba", which he illustrated with a

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Also in 1891, Goodman tried to persuade The Garrick Club to purchase his portraits of Wilkie Collins and Mrs. Alfred Mellon, pledging half the proceeds to a fund to help relieve the financial difficulties of

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in Liverpool in 1883. It was offered for sale at the Liverpool Autumn Exhibition the same year, but priced at 315 pounds the painting did not find a buyer, causing the artist to re-exhibit it in 1884 at the

1662:. Goodman suggested they meet up, in either town, but Collins was reluctant to travel to Broastairs as it reminded him too much of his dear departed friends and Broadstairs housemates, Charles Dickens and 392:

Beginning in 1860 Goodman undertook extensive travel to France, Belgium, Germany, Switzerland, Italy, and Spain. He spent almost two years in Florence, beginning in 1861, refining his skills by copying

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is now considered an important example of its genre. The history of the painting and its ownership between the late 1890s and 1965 is unknown, and how it reached the United States is still a mystery.

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Author and playwright Henry Pettitt is described by Goodman as being by far his worst sitter. During the difficult sittings Goodman learnt that Pettitt came to the stage at age 14 in a production at

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In 1881, at Goodman's request, Prince Leopold sat for him at his London studio. Goodman notes that prior to the Prince's visit on 5 February 1881, he requested that his cleaning lady make the studio

1482:, Marchioness of Lorne also paid a visit to Goodman's studio. Prince Leopold was in failing health and further sittings took place in the somewhat warmer surroundings of the Prince's apartments at 1466:. Before this, the series was privately exhibited in the apartment where they had been painted. At the time of writing, in 1893, Goodman had no knowledge of the whereabouts of the seven paintings. 1075:, which contains engravings of several of his portrait paintings. Goodman's life interest in the theatre culminated in an appearance with Mrs. Keeley in a full-scale production on the stage of the 6337: 332:(1814–1901). The production received glowing reviews. A somewhat comical flyer from the same year, of a production at the Goodman family home at Mabledon Place in London, describes Goodman as a 1576:

portrait. He notes that between the completion of this´and starting the next portrait, Mrs. Keeley requests him to paint a posthumous portrait of her late daughter, Louise who was married to

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as evidenced by the letter from Goodman attached to the back of the painting. The guest in question was E. W. Mackney, whom Goodman had already sketched and painted in the past. However,

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Sketch of a social gathering at the Edinburgh home of James Hannay. Guests included Hannay, John George Edgar, Sam Bough, David Smith, John Carmichael, J. P. Steele, and Edward Goodman.

1851:. Goodman relates how his subject is overcome with emotion when reminiscing about all his associates, such as Mrs. Keeley and Mrs Stirling. Matthews tells of his close relationship with 1666:. Goodman went to Ramsgate, where Collins related many a fascinating tale of his friendship with Dickens. For example, it was at Broadstairs that Dickens came upon the original aunt in 1332:

where the reviewer accused Goodman of affixing facsimiles of photographs to his painting. Goodman later responded in the press to this inaccurate criticism in equally withering terms.

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many of his own portraits of Cuadras. It can be safely assumed that Cuadras was Goodman's closest friend and he was devastated when Cuadras' life was cut short in January 1877 at the

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and a more extensive obituary appeared in an unidentified newspaper, listing his notable achievements. These are the last known references to Walter Goodman in the public record.

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by not giving permission for the painting to be transported to China. It was eventually purchased by a private collector known to Goodman, and its present whereabouts are unknown.

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Goodman was a great fan of the pantomime and Tom Matthews, born 1805, was his favourite pantomime clown. Goodman saw him many times in pantomime at the Drury Lane Theatre and at

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if it was against the customs of his country for a mandarin to have his portrait painted, it was not less at variance with the rigid rules of the outer barbarian to return money

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Shortly after 1851 Goodman embarked upon a six-month walking tour around England and Wales, taking portraiture and sketching commissions along the way – most notably that of

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Walter Goodman's The Printseller's Window: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)

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Walter Goodman's The Printseller's Window: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)

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Walter Goodman's The Printseller's Window: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)

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Goodman probably left his family in Sussex and returned to live in London around 1900. The 1901 UK census lists Clara living as head of the family with the children at

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In 1864 Goodman, Cuadras, and a servant were sketching in the Santiago area, when they were arrested by the military and imprisoned in the subterannean dungeons of the

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Pearl of The Antilles or An Artist in Cuba, London: H.S.King & Co. 1873 (reprinted in 1986 as Un Artista en Cuba. Letras Cubanas (Col. Testimonio). La Habana.)

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Walter Goodman's The Printseller: Solving A Painter's Puzzle, The Lockhart Gallery of the Memorial Art Gallery of the University of Rochester, New York, US (2009)

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returned to London and was being cared for by his three eldest sons at his final address in Priory Park Road, Willesden, London. However, in December the same year

900:, sitting for Goodman (the Prince never sat for another artist). The Prince had his final sitting in March 1881 at Windsor Castle His portrait was submitted to the 1420:

Walter and Clara had a son, Walter Russell in 1889, followed by Joaquin Sedgwick (1891), Reginald Arthur (1893), Julia Constance (1894) and Keeley John (1899).

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picture cord, nails and projected shadows formed by those objects, all of which were so accurately represented as to appear from a distance like the real thing

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to paint two landscapes of the valley below from the brow of a hill at Cowcombe Woods overlooking the village. He stayed in Chalford for at least five months.

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Around this time Goodman toured the provinces with a theatrical company, having gained employment as a scenery painter, after which he was commissioned by the

194:. Recent research has unearthed details of more than one hundred works by Goodman. The present whereabouts of most these are unknown, notable exceptions being 908:

dated 28 July 1884 notes that Goodman submitted the portrait of The Duke of Albany to the Prince and Princess of Wales, from where it was currently displayed

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in August 1868 in connection with the laying of the undersea cable between Cuba and Jamaica. He wrote a series of articles about his Jamaican trip, entitled

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near Venice. Before returning to Venice, the brothers displayed their prowess and skill at Venetian glass-making at a private showing for the Royal Family.

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Wilkie Collins sat for Goodman around 1880–1881 but the sitting was interrupted by a severe illness Goodman contracted towards the end of 1881. He moved to

1736:. The studio was located in the hilly area of the city, now known as the Barrio el Tivoli, in the heart of the old town. In 1864, however, the area was 1083:). Another actress whose portrait Goodman painted was Amy Sedgwick. A year after her death in 1897, her third husband presented the portrait to the 917: 5286: 1794:

did not introduce the guest and Goodman did not recognise him, until he sat at the piano and began playing a well-known parody piece of the day.

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That same year Goodman scored two coups involving the new Chinese diplomatic missions to Europe. Liu Hsi-Hung, Chinese minister to the Court of

2019:, he organized a firework display in honor of The Queen's birthday. He was assisted in this task by his son, Russell (godson of Henry Russell). 2012: 2015:

and that of his daughter Elisabeth. According to reports, both works were met with much success. During this trip, while staying at a hotel in

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at the Memorial Art Gallery of the University of Rochester 14 August 2009 – 15 November 2009. A catalog of the exhibition has been published.

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sits down at the piano and entertains the guests. Goodman has no idea who the mysterious pianist is, so enquires of one of the guests, Mr.

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Opitz, Glenn B.(1986) Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers. Dealers Choice Books; 2 Sub edition.

1055:, of which the artist was a member from 1873 to 1894 and where his brother Edward was chairman of the committee. Another Keeley painting, 2741:

Portrait of a Chinese lady in native attire. (Kuo Tai-Tai – the wife of Kuo-Ta-Jen – with her new son, Ying-Sung, and the child's nurse)

1959:. Once again Goodman displays a certain prejudice. When he first meets Sir Thomas at a private dinner in Manchester, he is presented as 6402: 6397: 1453:. Each essay detailed the often humorous circumstances surrounding a particular painting or series of paintings Goodman had created. 6312: 1571:

Goodman indulges his obvious obsession with Mrs. Keeley by devoting the next three essays to her and the two portraits she sat for.

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