ADDENDA Page 3

319.  PERRAN POINT.
PERRAN POINT (c.1895-1900)Oil on board, 29 x 40.5cm, 11½ x 16 in.  Signed l.r.: 'Arthur Hughes'.
PROV: .... Anon sale, Sotheby's, 25 November 2004 (336, repr. colour p.55); sold for £8,640.











322A.  PORTRAIT OF GERTRUDE DE FEARONc. mid-1890's.
GERTRUDE DE FEARON (c. mid-1890s)Oil on canvas, 100 x 75cm, 39½ x 29½ in.  Signed l.l.: 'Arthur Hughes'; signed and inscribed on label verso.
PROV: Commissioned by Gertrude de Fearon; thence by family descent; bought from them in 1966 by Private collector (consigned by him to Phillip's, 28 November 2000 [42, repr. colour p.48], unsold).















323.  COTTAGE BY THE SEA.
PROV: .... Mr. & Mrs. Richard D. Franklin; consigned by them to Sotheby's, 5 November 1997 (198, repr. colour p.104), unsold, and to W.H. Lane & Son, Penzance, 10 February 1998 (278, repr.).  Anon. sales, Bonham's Knightsbridge, 6 June 2006 (59, repr. colour, as 'Reigning The Donkey In'), unsold, and 12 September 2006 (130, repr. colour, again as 'Reigning The Donkey In'), sold for £3,120.

324.  A SPRING AFTERNOON.
PROV: .... Anon. sale, Sotheby's, 10 March 2005 (228, repr. colour p.33), bought for £5,040; by private collector; consigned by them to Woolley & Wallis, 9 December 2015 (409; repr. colour), unsold, and Bearnes Hampton & Littlewood, Exeter, 4 October 2016 (433 as A Bend on the River..., repr. colour), bought for £1,295.70 by Nicholas Macarte.
324.2.  FAIRLIGHT, SUSSEX (slightly smaller version).  After c.1895.
FAIRILIGHT, SUSSEX (after c.1895)Oil on panel, 26 x 40.5cm, 10¼ x 16in.  Signed l.r.: 'Arthur Hughes'; inscribed by A.F. Hughes on label verso: 'Fairlight, Sussex/The late Arthur Hughes.'
PROV: Studio sale (part of 48), bought for 4gns. (the lot) by Levy.  Anon. sale, Christie's South Kensington, 7 September 2005 (301); bought for £1,080 by Private collector.
Notes: The large version was not in the Studio Sale.  This entry was originally listed as 528 (see below).








327.  A SUSSEX CLIFF.
PROV: .... Anon. sale, Bonham's Knightsbridge, 20 March 1997 (49, repr. p.14); sold for £600.

328.  A PASSING CLOUD.
PROV: ...; consigned to Christie's, 15 December 2010 (45, repr. colour p.31); sold for £103,250.
EXH: ...; Richmond 1998 (22, repr. colour p.39).

329.2.  LITTLE LAMB WHO MADE THEE (second version).
PROV: .... thence to her son's Private collection; consigned by him to Sotheby's, 5 November 1997 (199, repr. colour), unsold; and then bought privately for £1,035 by Alan B. Gateley; consigned by his executors to Sotheby's, 13 July 2010 (22 [inaccurately identified as .3], repr. colour p.25), sold for £5,750.
329.3.  LITTLE LAMB WHO MADE THEE (third version).
PROV: .... Anon. sale, Sotheby's, 9 March 2005 (57), unsold and then bought privately for approx. £2,500 by Private collector.
329.4.  MOTHERHOOD (study).
PROV: ... Lessore.  Beaux Arts Gallery; bought from them in December 1947 by Raymond Needham.  With Roary Russell-Adams by 1979; bought from him c.1980 by Kaye Michie (consigned by her to Sotheby's, ... ); bought from her for £1,550 in January 1995 by Mrs. Sandra Tranter.  Anon sale, Christie's, 7 June 2001 (43, repr. colour); sold for £7,637.

335.  BLACKTHORN, EAST SUSSEX.
PROV: .... Anon. sale, Dreweatts Donnington Priory, 7 April 2009 (298, repr. colour), sold for £1,107.

344A.  MOUNTS BAY FROM PORTHLEVEN, SOUTH WEST CORNWALL.  1899?
Mounts Bay from Porthleven (1899?)Oil on board, 22.5 x 37cm, 8¾ x 14½ in.  Signed l.r.: 'Arthur Hughes'; inscribed on label verso.
PROV: Anon. sale, Chiswick Auctions, 13 September 2011 (268, repr. colour).  Maas Gallery by December 2014.
EXH: Small Oils, Maas Gallery, 8 December 2014 onwards (50, repr. colour; £8,500).









345.  PORTHLEVEN: BOATS GOING OUT.
PORTHLEVEN: BOATS GOING OUT (c.1900)Oil on panel, 26 x 45cm, 10¼ x 17¾ in.  Signed by A.F. Hughes l.r.: 'Arthur Hughes'; inscribed in another hand on label verso: 'Boats Going Out/For Sybel Brooke & A Brooke'.
PROV: .... Daniel Egan.  Sybel and A. Brooke.  Anon. sales, Bonhams Knightsbridge, 19 November 2002, unsold, 12 February 2003, unsold, and 8 April 2003 (228, repr.); bought for £800 by Abbott & Holder (List 354, £1,850).






362.  POTATO HARVEST.
Oil on panel, 20 x 32cm, 8 x 12¾ in.  Signed l.l.: 'Arthur Hughes'.
PROV: .... Bonham's Knightsbridge, 11 September 2012 (168, repr. colour); sold for £3,427.

363.2.  ROCKY POINT, ENIS HEAD, SOUTH CORNWALL (study).  Before c.1895.
ROCKY POINT, ENIS HEAD (before c.1895)Oil on panel, 21 x 36cm, 8¼ x 14¼ in.  Signed l.r.: 'Arthur Hughes'; inscribed on label verso.
PROV: Anon. sale, Bearne's, Exeter, 24 June 1998 (481, repr. p.44); bought for £1,000 by private collector; thence in 2011 to his nephew.






Photo courtesy of Bearne's


364SUNDAY.
21 by 36cm, 8¼ by 14in.  Signed l.l.: 'Arthur Hughes'; inscribed on label verso with title, artist's signature & address.
PROV: .... Bought at the 1925 sale by Dr. James Nicoll; gifted by him to private collector; thence by descent; consigned by the family to Sotheby's, 15 December 2016 (10 [with errors in the catalogue entry]; repr. colour); sold for £3,750.

367.  HOME WITH THE DAWN (study).
PROV: ...; thence in 2011 to his nephew.

393.  A FLOWERY CORNER.  Before c.1895.
A Flowery Corner (before c.1895)Oil on panel, 22 x 37cm, 8¾ x 14½ in.  Signed l.l.: 'Arthur Hughes'; inscribed on fragment of label verso: 'A Flow[ery Corner]'.
PROV: Consigned by 'a Lady' to Phillip's, 20 November 2001 (63, repr. colour p.62); bought for £3,450 by Private collector.  Anon. sale, Gorringes, 9 March 2004 (2046), unsold.








397.  A FAIRY TALE (Dark Thoughts: Anodos In The Tower).
PROV: ...; consigned by him to Christie's South Kensington, 3 July 2007 (797, repr. colour); bought by Ian Hodgkins & Co. Ltd.; bought from them in November 2007 by Mike Titterington; his sale, Bonham's, 24 November 2015 (6; repr. colour); sold for £3,750.

398.  THE CROWNING OF CAEDMON.
PROV: ...; thence in 1999 to his executors; consigned by them to Christie's, 17 June 2014 (69, repr. colour); sold for £3,250.

399.  VILLAGERS FLEEING FROM A DRAGON.
PROV: .... Anon. sale, Christie's, 7 November 1997 (34, repr. colour p.26), sold for £3,220.  Jeremy Waller (consigned to Phillip's, 10 April 2001 [66, repr. colour], unsold).

400.  SHRIMP NETS.
PROV: .... Melton Park Gallery, Oklahoma City.

406.  FORGET ME NOT.
PROV: .... Jeremy Waller; consigned to Phillip's, 3 April 2001 (40, repr. colour p.49); sold for £20,700.  Anon. sale, Bonham's, 28 June 2005 (52, repr. colour); sold for £18,000.
EXH: ...; Richmond 1998 (23, repr. colour p.41).
LIT: D.N. Mancoff, Flora Symbolica: Flowers in Pre-Raphaelite Art (2003), p.24 (repr. colour p.25).

409.2.  THE NATIVITY.  Black crayon on peper, 37 x 25cm, 14½ x 9¾in.
EXH: ... A Dream of the Past, University of Toronto Art Centre, 8 April-22 September 2000 (33, repr. p.113); Beauty's Awakening, National Gallery of Canada (Ottawa), 9 October 2015-3 January 2016 and Leighton House, 12 February-29 May 2016 (26, as The Adoration of the Kings and Shepherds; repr. colour p.81).
409.3.  THE ADORATION OF THE SHEPHERDS (later version).
Adoration (later version) PROV: ...; consigned by him to Sotheby's, 5 November 1997 (194, repr. colour p.103), sold for £8,000.




















413A.  SUMMER SEASCAPE (study).  c.1902
SUMMER SEASCAPE (c.1902)Oil on panel, 15 x 24.5cm, 6 x 9½ in.  Signed l.l.: 'Arthur Hughes'.
PROV: Anon. sale, Sotheby's Olympia, 13 October 2004 (232, repr. colour p.97), sold for £1,920.








414.  MRS. STEPHEN MASSINGBERD.
EXH: ...; Richmond 1998 (24, repr. colour p.43).

430A.  CELIA IN THE FOREST OF ARDEN.  Before May 1904.
Oil.
EXH: Dunthorne 1904 (26).

416.  A YOUNG LADY.
EXH: Richmond 1998 (25, repr. p.44).

431.  THE LONELY FISHER.
Lonely FisherOil on panel.... Inscribed with title on label verso.
PROV: .... Anon sale, Bellmans, West Billingshurst, 20 March 2009 (1929, repr. colour), bought for £988 by Campbell Wilson Fine Art.










440.  CLIFF SEARCHERS.
PROV: .... Anon sale, Christie's, 10 June 2003 (92, repr. colour), sold for £5,378.

441.  A VISIT TO GRANDMOTHER.  Before May 1904.
A Visit (pre-1904)Oil on panel, 31 x 35cm, 12¼ x 14in.  Signed l.r.: 'Arthur Hughes'; inscribed on label verso: 'A Visit to Grandmother'.
PROV: Hughes's estate in 1916.  Anon sale, Woolley & Wallis, Salisbury, 4 October 2006 (332, repr.; as by Arthur Foord Hughes), unsold.  Anon sale, Christie's, 15 November 2007 (39, repr. colour); sold for £10,000.  A.J. Norris Antiques.  Consigned by a private collector to Sotheby's, 17 May 2011 (27, repr. colour), unsold.  Consigned by 'A Gentleman' to Christie's South Kensington, 8 July 2015 (45, repr. colour p.33), sold for £10,000.
EXH: Dunthorne 1904 (42); Memorial 1916 (11, 15gns.).
This and 496 are probably the same work.






444.  FRIENDS.
PROV: ... thence c.1955 to her son's private collection; consigned by him to Sotheby's, 5 November 1997 (195, repr. colour p.103), sold for £8,000.

449A.  THE COTTAGE HOUSE.  Probably 1905-10.
Oil on panel, 20.5 x 33cm, 8 x 13 in.  Signed l.r.: 'Arthur Hughes'; inscribed on label verso: 'The Cottage House / by Arthur Hughes / Eastside House / Kew Green'.
PROV: Anon. sale, Sotheby's, 16 September 1999 (215, repr. colour p.63); sold for £2,185.

451.  A HILLY LANDSCAPE IN WALES (study).
PROV: ...; thence in 2011 to his nephew.

452.2.  LLANDANWG CHURCH, NEAR LLANBEDR (study).  c.1906-08.
LLANDANWG CHURCH, NEAR LLANBEDR (study, c.1906-08)Oil on board, 17 x 37.5cm, 6¾ x 14¾ in.  Signed l.r.: 'Arthur Hughes'; inscribed by A.F. Hughes verson: 'Llandanwg Church, near Llanbedr / The late Arthur Hughes'.
PROV: Studio Sale (41), bought for 4gns. (the lot) by Levy.  Anon. sale, Christie's South Kensington, 7 September 2005 (304); bought for £840 by Private collector.
Note: Mrs. Eaton's version was not in the Studio Sale.  The recent appearances of this & several other titles listed in the Studio Sale indicate that other versions of each picture are extant.





452A.  ON THE ROAD TO CUMBUCHAN, N. WALESc.1906-08.
ON THE ROAD TO CUMBUCHAN (c.1906-08)Oil on board, 22.5 x 37cm, 8¾ x 12¾ in.  Indistinctly signed l.r.: 'Arthur Hughes'; inscribed on label verso: 'On the road to Cumbuchan*/N Wales/by Arthur Hughes/Eastside House/Kew Green'.
    *The correct spelling is Cwm Bychan.
PROV: Anon sale, Christie's South Kensington, 15 November 2012 (31, repr. colour), unsold, and then bought privately by Jane Cohen.







454.  THE RESCUE (left panel).
PROV:.... Anon. sale, Sotheby's, 10 November 1999 (149, repr. colour p.89), unsold at £12,000.  Consigned by a 'Gentleman' to Phillip's, 28 November 2000 (49, repr. colour p.53); sold for £12,000.
To Susan Lushington, 5 December 1913 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I wonder if you remember (or if I have spoken indeed) of a little boy who sometimes comes to sit for a drawing or picture--he sat for the little boy in the clutches of the Dragon I painted.  Well, he is now playing in "Quality Street," Barrie's play at the Duke of York's, and I am so glad--he is a charming little boy and a born actor.
454.  THE RESCUE (right panel).  Retouched in 1912.
To Susan Lushington, 25 December 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    This ought to have been written yesterday but for a Dragon!; a blue green one.  I have lately been working up two sketches [454.2 & .3], a double picture in a way, of a knight rescuing a child from a Dragon, to lend to Greville MacDonald to show at a lecture on Fairy Stories at Olympia--and which sketches originally were for a picture I had at the RA about three years ago.  Well, in doing that I improved on the original very much, and so I then worked again on the big picture and was fighting that Dragon yesterday, and got him most beautifully slain, and so very much better .
454.2.  THE RESCUE (study for the left panel).  c.1907, completed in 1912.
Oil.
EXH: Olympia, 1912-13.
    See above.
454.3.  THE RESCUE (study for the right panel).  c.1907, completed in 1912.
Oil.
EXH: Olympia, 1912-13.
    See above.

461A.  CORNER OF PORTH JOKE BEACH, NEWLYNc.1909.
Beach, Newlyn (c.1909)Oil on canvas, 25 x 49.5cm, 9¾ x 19½ in.  Signed by A.F. Hughes l.r.: 'A.Hughes'; inscribed on the stretcher in another hand: 'Corner of Porth Joke Beach, Newquay'.
    This appears to be one of a number of unfinished works remaining in Hughes's studio which were finished (extensively in this case?) and signed by his elder son for inclusion in the 1916 Memorial Exhibition and the 1921 Studio Sale.  By 2010 there is noticeable paint loss and deterioration to the canvas.
PROV: Anon. sale, Hartleys West Yorkshire, 16 September 2010 (1023, repr.), sold for £621.








462.  PENTIRE, N. CORNWALL.
PENTIRE, N. CORNWALL (c.1909)Oil on panel, 23 x 38cm, 9 x 15 in.  Signed l.r.: 'Arthur Hughes'; inscribed verso: 'Pentire, N. Cornwall'.
PROV: .... Anon. sale, Christie's South Kensington, 7 September 2005 (303), sold for £1,320.










463.  PENTIRE POINT.
Oil on panel, 23 x 35.5cm, 9 x 14 in.  Signed (and possibly dated 1884).
PROV: .... Anon sale, Keys Fine Art Auctioneers, Norwich, 9 December 2005 (611, repr.), unsold.

463A.  NIGHT LANDSCAPEc.1909?, possibly retouched in 1915.
PROV: Commissioned in 1915 by Susan Lushington and Mrs. Katherine Maxse.
To Susan Lushington, 22 July 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I have found a beginning of a Sea that lends itself happily to the new picture you ask for, but it cannot say how very very happy your letter made me.  You know how I think of the long list of kindnesses I have received from you all, and I have so often wished that some of the pictures made had been better.  I did try to do my best, but could not go or get beyond myself.  And now by happy fortune perhaps in this night landscape I have somehow, and it does give such delight to think it is to be retained by you and Mrs Maxse--and it seems an alleviation I never dared to hope for; if she will see it as you do I shall be so happy.  The new one will try to have exactly the feeling you speak of; perhaps not quite all the same detail exactly, but I hope to get again what you prize, and if needed perhaps I might see yours later on again?

468.  MONASTERY GARDEN.
PROV: .... Anon. sale, Phillips, 21 January 1997 (44, as Choirboys in Cloisters, repr. p.19), sold for £1,200; ....
EXH: Richmond 1998 (26, repr. colour p.45).

468A.  TITLE UNKNOWN.  1910.
Oil.
To Susan Lushington, 10 August 1910 (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    I am trying to do some outdoor work.... I am painting in the garden here, and the flowers pass and fade and die in a way that is extremely poetical, but very trying to the poor wretch who could not do them justice if he had the power to make them stay, and could command the weather as well!  There is a Scotch mist over all just now and very wet, and it blots out the other side of the valley, but ... it looks thinning and I am able to do some work from the open door.

473A.  ON THE TEIGN, S. DEVON.  1911.
On the TeignOil on panel, 30 x 40.5cm, 11¾ x 16 in.  Signed l.r.:'Arthur Hughes'; inscribed and dated verso: 'On the Teign, S. Devon 1911 To Miss Bessie Smith'.
PROV: Bessie Smith; thence by descent to her great nephew Richard Willmott.







Photo courtesy of the owner.



476.  PORTRAIT OF CECILY HALE-WHITE.
PROV: ...; consigned by his executors to Rosebery's West Norwood, 8 June 2010 (842, repr. colour [misdescribed as 'Portrait of the Artist`s Daughter']), bought for £1,400 by Campbell Wilson Fine Art.

476A.  SAPPHO.  Before 1912.
Oil.
To Susan Lushington, 13 December 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I am reading all that is known about Sappho, and I am glad because I have a picture of her with heaps of work done, and now perhaps it will get finished.

476B.  TITLE UNKNOWNc.1912?
PROV: Purchased in March 1912 by Mrs. Booth.
To Susan Lushington, 13 March 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Mrs. Booth has written me a very appreciative and kind letter (enclosing her cheque).

476C.  THE TEA TERRACE CORNER.  June 1912.
Coloured chalks (on paper?).
PROV: Purchased in June 1912 by Susan Lushington on behalf of Mrs. Montgomery.
To Susan Lushington, 11 June 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I am now sending by this post the very rough sketch of the Tea Terrace Corner.  It is as you know in pastel chalks: soft and delighting in any form of derangement--smearing particularly.  But I think if kept tightly packed and not able to shift about, it is pretty safe to arrive even in India, more or less visible, perhaps improved!  So I just advise it being posted again as you receive it.
To Susan Lushington, 13 June 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Thank you for what you say about the pastel....
    Yes, I am the slave of Pigwidgeons [B61]; but they do advance now a little.
To Susan Lushington, 25 July 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    You forwarded me a pleasantly appreciative [letter], concerning that rough pastel sketch, from Mrs. Montgomery.

476D.  TITLE UNKNOWN.  1912.
Oil.
To Susan Lushington, 6 July 1912 (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    I have come [here] for a weekend, and flower painting in Arty's Garden.
To Susan Lushington, [c.31 October 1912] (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    Here I was able to work in the garden in the mornings.

476E.  THE GARDEN AT KINGSLEY.  1912.
Oil.
PROV: Commissioned in 1912 by Susan Lushington.
476E.2.  THE GARDEN AT KINGSLEY (sketch).  August 1912.
Pen & ink?
PROV: Gifted in August 1912 to Susan Lushington.
To Susan Lushington, 27 August 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I am enclosing a leaf of a sketch book that I had with me when I was doing your little garden picture [476E]; and I am hoping that the two views of Viking are recognisable.
To Susan Lushington, 1 September 1912 (MS: [RBSC-ARC-1709]):
Kew Green
    I wonder what you will think of the sketch.

478.  CAEDMON'S AWAKENING.  Reworked in 1915.
    Correction: This work was submitted to and rejected by the R.A. in 1914, not 1913.
PROV: Purchased in 1915 by Susan Lushington, who then returned the picture for alterations (possibly reduction of the canvas) which added £10 to the total....
EXH: ...; Richmond 1998 (27, repr. colour p.47).
To Susan Lushington, 20 September 1912 (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    Yesterday I started on its canvas the "Caedmon" I told you of.
To Susan Lushington, 15 October 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    "Ah, it cometh in mine ear as when the Angel whispered "Caedmon, sing."  I will sing.  Gone are grief, doubt, and all fear."  So the good Caedmon!  But attempting that in my picture meanwhile, I am full of "doubt and all fear."
To Susan Lushington, [c.31 October 1912] (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    You have given me the clue to my longings for a design for Caedmon, and I am hoping... to do something that may suggest it, and that you will look at.  I am making a study here of a tree that is to join up with yours and the wall and the archway, and the rest please goodness.
To Susan Lushington, 4 December 1912 (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    I had last week at Kew, but now again have come for this one to Pett and my beloved Caedmon.  The weekly rest is good for him and also for the Kew pictures; it is like washing out what one is pleased to call one's "brains," or eyes anyway.
To Susan Lushington, 13 December 1912 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I am working on many things here, and Caedmon at Pett.
To Susan Lushington, 7 February 1913 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Miss MacDonnell gave me help with Caedmon notes that relieve me of many uncertainties.
To Susan Lushington, 10 November 1913 (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    Today [I] have enjoyed very much renewing acquaintance with my much neglected "Caedmon."  I think I have greatly improved the design and feel much more happy over it.
To Susan Lushington, 25 January 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Yesterday I was doing a little to Caedmon.
To Susan Lushington, 20 February 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    With me, Caedmon alternately smiles or frowns, but goes on steadily if slowly--I hope in the way he should go--and is very fully interesting to its unworthy parent.
To Susan Lushington, 5 March 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I have harrowing hours nearly every day over Caedmon!  Still, like the Triumphant march of Spring, there occur lucid intervals occasionally, and I hope it is still going in the right direction.
To Susan Lushington, 20 March 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I tried to get a scratch in a note book for Caedmon, which I took into the country with me for his health!  He is better for the change....
    I have made a new instrument for Caedmon:
Luteand followed your suggestion at the top: a bird's head, mouth open to sing; at bottom his wings delineated on the surface faintly--will that please you?  You will be pleased I am sure to know that my nephew Ted came the day following your visit and irreverently said that it suggested a bird cage as it was.  Also, I have got rid of the awkward humpiness of Caedmon's head and shoulders.  I find plenty of troubles; every day one turns up, but it gets along.



To Susan Lushington, 2 [April] 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I thank you so much for your interest in Caedmon.  On Monday afternoon I parted with him (temporarily, for I do not much expect the R A will accept him--and I feel I ought to be shelved--but here they like the subject so much, I was persuaded).... [I] am meanwhile burning with impatience to mend the pictures laid by for Caedmon.
To Susan Lushington, 20 June 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I was rather anxious and wondering how you would like the picture when you saw it again, but did not expect to hear quite so quickly.  And I am so happy to learn that you think you will like having it with you until it goes away, and so I think you approve; and here you have sent me not only its price, which was of course to include its finishing, but half as much again!  And it will only tire you to repeat that you think too well of my work, as all your people always have.
To Susan Lushington, 27 September 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Now, about the picture.  It left here this morning (by Carter Paterson) in a case addressed to you at Bordon Station, to be called for.  It goes by passenger train, and I guess might be there sometime tomorrow.  I hope it will arrive safely; I think it ought.  You will find strips of paper pasted on the glass which will want damping off--it is done to strengthen glass against jarring.  I do hope the picture will please you.  You will see that its effect is an hour or so later--as indeed I had intended the first one to be--but I can't help fearing a second can never be esteemed quite as well as a first treatment that was then new.  Its price this time is ten.

479.  THE YOUNG PRINCESS WITH THE WITCH.
To Susan Lushington, 17 February 1913 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I had good spirits enough to take up an old picture that you can help!  A young princess of 13 years has a holiday, goes alone to a favorite bit of Forest and sets out her lunch of apples, Blackberries [and] bread, at the foot of the Great Giant Oak tree, and her friends come: the Jay; the Squirrels; the little Foxes; the magpie; the small Bunny and the Kingfisher from the stream flowing by.  And to her comes a poor old woman, a kindly Witch who begs with one hand for an apple, and as the girl princess holds it out, the Witch in her other hand behind holds a globe of Crystal to put in its place--this I think is to show that the child's path is to be happy.  You will know the Witch is kind because she is accompanied by a hare on a honeysuckle leash.  But the Princess tells her that her party is not complete; it wants the Pied Pheasant--and where can she get that I wonder?  And I wonder and shall evermore wonder at my good fortune; and I almost dare to expect the Princess will make up her party.
To Susan Lushington, 19 February 1913 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    The beautiful bird has arrived quite safely, and I can't thank you enough for so kindly helping my picture, and the troublesome packing and rapidity of your responce.  I seem hardly to have told of the picture and here is its chief feature almost, in my hand.....
    I am trying to plan the pied one's place in the picture.  You can't think how I hope to be able to show you, if not a good picture, at any rate one of my better ones!  But perhaps that might easily be!  I will take great care of him.
To Susan Lushington, 25 February 1913 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I planned the Pied Pheasant happily and got the whole settled and looking so jolly in my own egregiously foolish eyes, that I am longing to show it to you--and some others also--and can certainly promise to be at home when you come on the 4th....
    Thank you so much for the offer of the Kingfisher, but I need not have him disturbed from his sacred resting place; for I have the skin of a very good one--that is all I want.
To Susan Lushington, 10 November 1913 (MS: UBC [RBSC-ARC-1709]):
The Cottage, Pett, nr Hastings
    At home I have been working upon the Fairy Story one containing the Pheasant--that also looks cheerful rather.

481.  THE HARVESTING.
PROV: .... Anon. sale, Phillips, 21 January 1997 (42, repr. p.18), sold for £1,800; ....

484.  COLUMBINE GOSLINGS.  1913.
Oil.
To Susan Lushington, 9 September 1913 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Yes, I finished off the Book [B62].  And since that have taken up some old things with fresher interest; and new ones--one is a little painting of our pyramid of yellow Goslings and their grey mother, by Ockham house in the rain as you will recall.  But I have had to compose the common from former Kingsley sketches [482, 483], and added a corner of rain dabbled water from Sheen Common here....
    I was relieved to know that the portrait [185?] was made safe in the panelling.

484A.  THE IRIS BUD (sketch).  January 1913.
Pen & ink?
PROV: Gifted in January 1913 to Susan Lushington.
To Susan Lushington, 19 January 1913 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    This enclosed ghost of a sketch is but to prove to you how the Iris bud has responded to your wish and opened so bravely.

486A.  SUMMER PASTUREc.1914.
Summer Pasture (c.1914)Oil on canvas laid on panel, 25 x 20cm, 10 x 7¾ in.  Signed l.r.: 'Arthur Hughes'.
PROV: Anon. sale, Sotheby's, 12 May 1999 (98, repr. colour p.30); sold for £4,025.












489.  THE DOOR OF MERCY (later version).
To Susan Lushington, 17 June 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Mrs Morse brought Cadogan Cowper one day; and he liked everything, and said I ought to do that design you saw of Angels above and woman among thorns below, on a canvas 7 feet high.
To Susan Lushington, 28 August 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I try to work as usual, but a little more so: bury myself in developing the big picture--and perhaps I cheat myself in the hope that it responds a little.  And then I steep myself in dear Morris--The Jason and The Earthly Paradise--and never cease to wonder and admire.  I read all long ago, but it is as new as a new book--such is my happy memory!
To Susan Lushington, 5 October 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I am trying still to shape out the big Door of Mercy, and I still feel encouraged to go on.
To Susan Lushington, 1 December 1914 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I must tell you of the latest addition to my big picture.  The lower part (separate from the upper) contains the penitent woman on her knees with stones and thorns and thistles, and the foot of the bronze doors just showing a crack of light as if just opening; and I have placed a robin on the edge of the step toward the door, but looking round a little to the penitent, and the crack of light just shines a little round his edge.  Well, the upper picture has steps going up: on the lowest the Christus [is] looking down and with his right hand obliterating the scarlet record ("Tho' thy sins were as scarlet") held by a winged boy angel.  The steps as they ascend begin to break in grass and daisies to the top one, where those with music are quite among flowers.  And I have made a robin that has actually come down one step, singing with all his might and exactly imitating a little boy angel over him clapping his hands [and] wearing a red short robe, the breast to the full light.  And I am putting a saints glory on the Robin!  On the other side of the picture a wren watches leaning over.
To Susan Lushington, 20 January 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    My picture has been going on in the way that pictures often do, but more so: one day hope, the next despair, then more hope only to lead to more despair--very very difficult problems to solve, and many obliterations--but, but, I still hope.  I daresay it will be poor stuff, "but mine own."  And I perhaps should not have started it, but [instead] tried to complete old things; but I somehow could not help it.
To Susan Lushington, 25 February 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    In the Studio things are now rather promising; the many ups and downs are evidently the picture's way of making me really clear of what I want to say, and how.  Thank goodness it is never too late to learn.
To Susan Lushington, 10 March 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    Of late my picture has been a little kinder, and so has held me, all times and opportunities, very closely, and I think there are to be no more changes made in it but to go on to what sort of completion I am able to develop.  But I do also know that I have felt like this once or twice already!  It has kept me from fruitless brooding on matters I cannot mend, and I am grateful for that.
To Susan Lushington, 17 April 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    My big picture [is] the most up and down torture possible to conceive.  BUT, with these last two or three days it has at last pulled itself together so that I can see it coming, I really believe, and as I have wished so much, and so often and often despaired of ever achieving.  In some degree I think it must be the best "Ideal" work I have done, which of course is not saying much for it.  I don't suppose it is so good to have done as the humbler realisms I did once or twice, ages ago.  But I am thankful for small mercies, and Oh the deliveranceBut I would not be without the chains and agonies for worlds.

492A.  TITLE UNKNOWN (sketch).  June 1915.
Oil?
PROV: Gifted in June 1915 to Susan Lushington.
To Susan Lushington, 20 June 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    There is a tiny tiny sketch I have, a further example of the incomplete painter: so dim and ghostly that it cannot offend or be found very wrong I hope; and if I tried to complete it more, I should lose what I feel it has of suggestion.  It is nothing to give, and fortunately does not need much space.

492B.  HOPE (design for embroidery).  July 1915.
Pen & ink?
To Susan Lushington, 22 July 1915 (MS: UBC [RBSC-ARC-1709]):
Kew Green
    I am now struggling with the same ancient incompetence to produce a design for Hope that a friend wants to do in embroidery, and you can't conceive my absolute prostration and imbecility!  Or, alas, perhaps you can!, which is still worse.

496.  DELETE THIS ENTRY (See 441).

509.  THE STONE-BREAKER.
Oil on board, 22 x 37.5cm, 8¾ x 14¾ in.  Signed.
PROV: .... Anon. sale, Christie's South Kensington, 1 November 1990 (part of 133), sold (the lot) for £397.

510.  FATHER'S BOOTS.
Oil on canvas laid on board, 22 x 37.5cm, 8¾ x 14¾ in.  Signed.
PROV: .... Anon. sale, Christie's South Kensington, 1 November 1990 (part of 133), sold (the lot) for £397.

516.  NOTE: This entry is now renumbered 311E.

517.  NOTE: This entry is now renumbered 311F.

521.  NOTE: This entry is now renumbered 165A.

528.  NOTE: This entry is now renumbered 324.2.

535.  NOTE: This entry is now renumbered 311G.

547, 548, 549, 550, and 551.  NOTE: DELETE ALL FIVE ENTRIES (there is now some uncertainty as to whether in fact these works exist).


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