Frederick Goodall (1822–1904)
Leaving the Village
Oil on canvasI have no further description, at this time
Frederick Goodall RA (17 September 1822 – 29 July 1904) was an English artist born in London in 1822. He received his education at the Wellington Road Academy.
Frederick Goodall (1822–1904)
The Drinking Trough: A Scene in Brittany, c. 1857
Oil on panel
H 49.5 x W 40.6 cm
Victoria and Albert Museum
Frederick Goodall (1822–1904)
The Village Post Office, c. 1849
Oil on panel
H 20.3 x W 29.2 cm
Victoria and Albert Museum
A chance meeting with Isambard Brunel led to Frederick's first commission: six watercolour drawings showing the tunnel works, four of which were hung in the Royal Academy when Frederick was sixteen. Four of these were exhibited at the Royal Academy when Frederick was 16. His first oil of a drowned miner won a silver medal of the Society of Arts. The money he made from these paintings paid for a visit to Brittany.
Frederick Goodall (1822–1904) (copy after)
Thomas Cranmer at the Traitor's Gate, c. 1856
Oil on canvas
H 44 x W 70 cm
Tower of London
Thomas Cranmer (2 July 1489 – 21 March 1556) was a leader of the English Reformation and Archbishop of Canterbury during the reigns of Henry VIII, Edward VI and, for a short time, Mary I. He helped build the case for the annulment of Henry's marriage to Catherine of Aragon, which was one of the causes of the separation of the English Church from union with the Holy See. Along with Thomas Cromwell, he supported the principle of royal supremacy, in which the king was considered sovereign over the Church within his realm.
After the accession of the Catholic Mary I, Cranmer was put on trial for treason and heresy. Imprisoned for over two years and under pressure from Church authorities, he made several recantations and apparently reconciled himself with the Catholic Church. While this would have normally absolved him, Mary wanted him executed, and, on the day of his execution, he withdrew his recantations, to die a heretic to Catholics and a martyr for the principles of the English Reformation. More on Thomas Cranmer
Frederick Goodall
Queen Henrietta Maria and her children on the river
Watercolour on paper
33 x 43 cm
Henrietta Maria (25 November[1] 1609 – 10 September 1669) was Queen of England, Scotland, and Ireland as the wife of Charles I. She was mother of his two immediate successors, Charles II and James II and VII. Contemporaneously, by a decree of her husband, she was known in England as Queen Mary, but she did not like this name and signed her letters "Henriette R". More on Henrietta Maria
This visit to France and a subsequent tour in Ireland inspired the romantic and rustic scenes of village life influenced by David Wilkie, which, together with stirring historical episodes like Cranmer At Traitor's Gate (See above), were Fred's next Academy exhibits.
Frederick Goodall (1822 – 1904)
On The Nile
Oil on canvas
10 3/8" H x 29"
Private collection
On The Nile, depicting figures gathering water and watering livestock in foreground and the great pyramids in the background.
Goodall's opportunity to widen his horizon came in 1858 when he was invited to accompany a group of friends to Egypt. It was to be the turning point in his career and except for some portraits and a few English landscapes, his pictures , over 170 canvases in 46 years, shown in the Royal Academy alone, had Egypt as their setting. In the autumn of 1858, Goodall rented an old house in the Coptic quarter with Carl Haag, who had been drawing master to Queen Victoria.
Frederick Goodall (1822–1904)
A Woman and Child, c. 1844–1878
Oil on board
H 47 x W 35.8 cm
Walker Art Gallery
Frederick Goodall (1822–1904)
The Song of the Nubian Slave, c. 1863
Oil on canvas
H 71.2 x W 92 cm
Royal Academy of Arts
Frederick Goodall
Feluccas on the Nile in a stiff breeze, c. 1897
Watercolour on paper
25 x 20 in. (63.5 x 50.8 cm.)
Private collection
A felucca is a traditional wooden sailing boat used in the eastern Mediterranean—including around Malta and Tunisia—in Egypt and Sudan (particularly along the Nile and in protected waters of the Red Sea), and also in Iraq. Its rig consists of one or two lateen sails. More on feluccas
They are usually able to board ten passengers and the crew consists of two or three people.
Frederick Goodall (1822–1904) (after)
The Palm Offering, c. 1863 or later
Oil on board
H 14.5 x W 11 cm
National Trust, Kingston Lacy
Goodall visited Egypt again in 1870, both times travelling and camping with Bedouin tribesmen. On his first visit to Egypt, he shared a house and studio with artist, Carl Haag and the pair often sketched together, both in the streets and outside Cairo, especially in the area around the Pyramids. On his second visit in 1870, he lived at Saqqara, near the Pyramids with the aim of directly observing Bedouin lifestyles.
Frederick Goodall
At the Well
Watercolor
28.75 x 20.5 in
Private collection
Frederick Goodall
THE MADRASA, c. 1859
Oil on paper laid down on canvas
40 by 55cm., 15½ by 21½in.
Frederick Goodall
Prayer in the mosque of Sultan Hasan, Cairo 1876
Oil on canvas
24 x 35 7/8 in. (61 x 90.3 cm.)
Private collection
Frederick Goodall, R.A. (British, 1822–1904)
Egyptian Pilgrims Arriving at an Inn
Oil on panel
8 x 10 7/8 in.
The Dahesh Museum of Art
Frederick Goodall
Arab horsemen in the desert , c. 1859
Oil on panel
10 x 25 cm
Private collection
Goodall describes in his reminiscences the fascination of the colourful seething crowds in the bazaar, the jostling camels in the narrow streets overhung with quaint carved balconies, the stillness of the mosques, the Sphinx by moonlight, the sail of a felucca on the Nile, the vast mystery of the desert.
In order to provide authentic detail to his paintings, Goodall brought back sheep and goats from Egypt. The Egyptian theme was prominent in his work, with 170 paintings being exhibited at the Royal Academy over 46 years.
Frederick Goodall (1822–1904)
Early Morning in the Wilderness of Shur, c. 1860
Oil on canvas
H 107 x W 305 cm
Guildhall Art Gallery
Shur is a location mentioned several times in the Hebrew Bible.
James K. Hoffmeier believes that the 'way of Shur' was located along the Wadi Tumilat — an arable strip of land to the east of the Nile Delta, serving as the ancient transit route between Ancient Egypt and Canaan across the Sinai Peninsula. More on Shur
Goodall would paint many large oil paintings over the next decade with his first Orientalist work being Early Morning in the Wilderness of Shur in 1860 (See above) which was exhibited at the Academy that year and brought much praise from critics and fellow artists including Landseer and Roberts. This picture is full of colour and movement and sold for 1000 guineas to eventually hang in the Guildhall Art Gallery in London.
After his return to England, Goodall painted many variations of the same Eastern themes.
Frederick Goodall (1822–1904) (attributed to)
Highland Jessie (an incident during the Siege of Lucknow, 26 September 1857, also called ‘The Campbells are Coming’), c. 1858
Oil on canvas
H 61 x W 96.3 cm
National Army Museum
The painting, also called ‘Jessie’s Dream’, depicts the moment the 78th Highlanders arrived at the besieged Residency at Lucknow. It shows Jessie Brown, a corporal’s wife, who had heard the bagpipes of the approaching relief force in her dream. The painting is a typical example of the Victorian romanticisation of the Indian Mutiny (1857–1859) as a savage attack on defenceless British women.
The Siege of Lucknow was the prolonged defence of the Residency within the city of Lucknow during the Indian Rebellion of 1857. After two successive relief attempts had reached the city, the defenders and civilians were evacuated from the Residency, which was then abandoned. More on The Siege of Lucknow
"Graeme's Dyke"Home of Frederick Goodall
The drawing of Fred Goodall's home at Harrow Weald in 1872 when it was completed was named Graeme's Dyke at the suggestion of Norman Shaw the architect, rather than the historical name "Grime's Dyke." After eleven years it was sold to a wealthy banker who in turn sold it to W.S. Gilbert. Today, the house is part of the beautiful Grim's Dyke Hotel which is one of the finest to be found anywhere. More on this Drawing
Goodall's work received high praise and acclaim from critics and artists alike and he earned a fortune from his paintings. He had a home built at Grim's Dyke, Harrow Weald, where he would entertain guests such as the Prince of Wales (later Edward VII).
Frederick Goodall (1822–1904)
The Finding of Moses, c. 1862
Oil on canvas
Height: 243.8 cm (95.9 in); Width: 182.9 cm (72 in)
Auckland Art Gallery
Goodall first travelled to Egypt in the late 1850s, at the time when he began exhibiting his religious epics with the Royal Academy. He was preoccupied with evoking biblical surroundings of archeological plausibility. This painting, which is the second version he painted on the theme, depicts the discovery of Moses by Pharoah's daughter and her handmaidens. While purporting prudery in relation to depictions of the nude body, many Victorians relished displays of naked flesh when legitimised within biblical and historical subjects. More on this painting
Frederick Goodall (1822–1904)
Susannah Without the Elders
Oil on canvasI have no further description, at this time
A fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two elders, having previously said goodbye to each other, bump into each other again when they spy on her bathing. The two men realize they both lust for Susanna. When she makes her way back to her house, they accost her, demanding she have sex with them. When she refuses, they have her arrested, claiming that the reason she sent her maids away was to be alone as she was having sex with a young man under a tree. More on Susanna and the Elders
Frederick Goodall continued painting into the 20th century. One of his last works in 1901 titled "The Snake Charmer" was sent to Marlborough House for His Royal Highness, the Prince of Wales, to inspect.
The Snake Charmer
Oil on canvas
I have no further description, at this time
Although hugely wealthy at the height of his career, his income dwindled during his final years and when he died in 1904 he was bankrupt. He was buried in a family vault at Highgate Cemetery. More on Frederick Goodall
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