Gouache and pencil on squared-up paper
19.2 x 16.3 cm
Signed lower left
Provenance:
J. Leger & Son, London (inscribed label attached to the reverse);
Sotheby's, West Sussex, 6th May 1987;
Pyms Gallery, London, stock. no.D783 and purchased from the above (label attached to the reverse)
Exhibited:
J. Leger & Son, London, 1949, no.33 (inscribed label attached to the reverse);
Scottish National Gallery of Modern Art, Edinburgh, 'James Pryde', 14th August-11th October 1992, no.72 (label attached to the reverse of the frame)
Literature:
Derek Hudson, 'James Pryde 1866-1941', Constable, London, 1949, p.97
This piece is a prepay studies forthe Shrine, one in a series of paintings commissioned by Baroness Annie Cowdray for Dunecht House in Aberdeenshire. They mark the most important and impressive works of Pryde’s career. Their subjects are fascinating, mysterious and challenging. Mostly real or imagined buildings made vertiginous by small, unsettling figures, whose purpose are unclear and enigma surrounds them. The figures appear not to be wearing contemporaneous attire, and seem more appropriate to be filling an Old masters painting, which gives them a timelessness and adds to an overall elusivity and nebulousness.
Painted between 1910 and 1922, the affects of the war are apparent, often bombed-out or decrepit the buildings, ‘the world in which they had grown up and had lived and worked seemed suddenly shattered. It can hardly be a coincidence that henceforth Pryde dwelt increasingly on the theme of ruin and decay.’ 1
His works are rich with artistic references and visual tropes, that remain unconfirmed and secretive. ‘Pryde never liked to talk about his work…he saw his work more as an expression of an inner world than as a window on reality.’ 2 Likenesses have been drawn Velasquez, Guardi and Piranesi and also to Daumier and Hogarth.
'The Shrine' shows a large arch housing a statue of Christ in disrepair, as disproportionately small men use ropes and ladders to seemingly deconstruct it. The finished painting differs from this sketch as a blood-red covers the statue and arch, beyond it a looming grey cloud covers a barren other-wordly landscape. Pryde used these motifs throughout this series to create a jarring ambience and realise his peculiar vision.
Born in Edinburgh, he studied 1885 to 1888 at the Royal Scottish Academy. In 1893 Pryde and William Nicholson formed the innovative and influential Beggarstaff partnership, which lasted until 1899, creating pioneering graphic art through their poster designs and signboards. In the same year his sister, Mabel married Nicholson. The breakup of Pryde's marriage in 1914, the affect war and his heavy drinking meant Pryde was unproductive for long periods and the end of this commission marked the end of his artistic zenith.
1 Derek Hudson, 'James Pryde 1866-1941', Constable, London, 1949, p.64
2 Ann Simpson 'James Pryde 1886-1941' exhibition catalogue Scottish National Gallery, Edinburgh 1992, p.13
