Yale Center for British Art and British Studies ^JX AOjf ^ t> /r/cl9U^n/^ «4-^«-» _ 'trt'H' a^^t^ _ 77^^^--^ /J*^^ THE WORKS OF CHAELES BUETON BAEBEE /^ . / Px-fc^,-?^^^*^ / cP^^^/i-^^-^..^'-- ^c4-\^ THE WOEKS OF Charles Burton Barber anb a '^ovtvait CASSELL AND COMPANY, Limited LONDON, PARIS & MELBOURNE 1896 ALL RIGHTS RESERVED PREFACE. Mr. Burton Barber's art was so charming in itself, and its fruits were so universally admired, that a Memorial Volume, consisting of a selection of his favourite subjects, is sure of a hearty welcome in many households. The Queen has been graciously pleased to allow of the use, for the purposes of this book, of some of the examples of Mr. Barber's work belonging to Her Majesty. Mr. Barber's family are greatly indebted to Her Majesty and the other owners of copyrights for their courteous permission to reproduce the pictures, and to Mr. Harry Furniss for the sympathetic appreciation of his lamented friend. THE EDITOR. LIST OF PLATES. Charles Burton Barber The Queen and Her Grand children. The Order of the Bath. In Disgrace. Cat and Dogs Belonging to the Queen. Sweethearts. A Mischievous Puppy, or Tit for Tat. Dogs Belonging to the Queen. Four-in-hand. Trust. " Oswald." A Special Pleader. A Cubby-House. Prince Alexander of Battenberg, Aged Two Months. Rivals. A Monster " Darnley." Rival Attraction.s. Fireside Fancies. The Queen's Favourite Dog, " Marco." The New Keeper. Dreamland. Frontispiece. Dogs Belonging to the Queen. A Lucky Dog. Compulsory Education. Prince.ss Margaret and Prince Arthur of CoNN.iUGHT. Coaxing is Better than Scratch ing. Amateur Gardener.s. Prince Drino and Princes.s Eva OF Battenberg. Treu und Fe.st (Faithful and True). A Scr.-vtch Pack. Children of the Duche.ss of Albany. Charity Begins at Home. A Mute Appeal. The Prince of Wales's Favourite Dog. Cosy Corner. Total Abstainers. "Johnnie." A Competent Critic. Friend or Foe ? The Late Prince Henry of Battenberg's Pug. The New Whip. Charles Burton Barber. By HAKRY FUPtNISS. ^ELDOM, indeed, has there lived an artist whose work has been so popular and whose personality so little known as Burton Barber, and yet at the same time one whose individuality in his pictures has been so evident and so engaging. The work of some men, no matter how clever or great it may be, does not inspire those who admire it to become acquainted with its author ; but with books of a delightful, sympathetic, and domesticated character all who read them say of the writer, " Do you know So-and-so ? He — or she — must be charming." So also is it with painting. If you "live with" a picture, surely the probability is that it would be a source of pleasure to you to be able to claim acquaintance with its originator, more especially if the subject treats of human sympathy ; and in the present lion- hunting epoch, in which the insatiable pursuer of personalities — I refer to the interviewer — finds the smallest crumb from the table of a third-class celebrity sufficient for pages of a magazine, it is more than w^onderful that Charles Burton Barber remained comparatively unknown, although to those who had the privilege of his friendship it was not in the least surprising that he should have remained in the shade. For no man dreaded exposure to the fierce light of publicity more than the talented but withal modest painter. For a quarter of a century he was " commanded" to attend the Royal Palaces to paint pictures for Royalty, yet not one paragraph announcing this appeared in the press, and not one pennv did the patronage of Royalty bring (outside the commission, of course) to the worker. B 10 CHARLES BURTON BARBER. Charles Burton Barber was in some respects the equal of Sir Edwin Landseer, and in one respect his superior. His private pictures for the Queen were the most satisfactory, for he was, after all. Sir Edwin's successor as the painter of animals, and it was quite an accident that he did not do as much painting for the general public as that artist, whom he worshipped. The accident was that Landseer happened to j^i'ecede him. Like Landseer, Burton Barber loved to paint the stag. He studied him carefully on his native heath in the shaggy wilds of the Highlands ; but as no one would give a moment's consideration to the noble deer after those by the great master, Burton Barber came down from the solitude of the northern fastnesses and took to painting dogs and cats in the studio. For this must be held responsible the picture dealers, who must have ruined quite as many reputations as they profess to have made. At one period Burton Barber had a struggle to avoid becoming merely the painter of the hunting-field. It was when he was just of age that he exhibited his first picture at the Royal Academy. (I may mention that he had been a student in the school, and had carried off some medals.) The picture in question was entitled "First at the Fence," and in the year 1866 it attracted general attention, placed as it was on the line. The unusual point of view from which the horse is drawn, the masterly fore-shortening of his quarters, and the careful and correct handling of the hounds are excellent, and truly wonderful in the work of a painter of such tender age. The work has been published and republished, and had the dealer had his own way " The View at the Fence " would have followed, a third picture after that, and in course of time the entire field would have been produced. But it was after the dealers discovered the fact that the public bought pictures of children and dogs that poor Barber's fate was sealed ; for he was allowed to do nothing else — a state of affairs which he bitterly lamented. So recently as 1894, in writing to a brother, he said: "Painting for one's own pleasure, making studies of such things as please you, for your own CHARLES BURTON BARBER. 11 delectation, is delightful, but manufacturing pictures for the market is just the devil." His brother in sending the letter to me adds these par ticulars : — " The fact is, his heart was literally in the Highlands, for his loYe of the red deer, and the attraction which mountain solitudes and scenes of storm and mist possessed for him, were quite phenomenal ; and whenever the picture dealers would give him a holiday he sketched these subjects with an absorbing interest and delight, which was, under all the circumstances of the case, absolutely pathetic. In his studio, in which he painted so many ' popular pictures,' we had a conversation one evening this year [1894] upon the artist's duty, in which my brother expressed a strong opinion that although a bachelor might be allowed to go on painting pictures which he could not sell until death arrested him, the first duty of a married artist was to think of his wife and family, and of the confiding butcher, baker, and other tradesmen who were good enough to supply them with meat and drink. In conclusion, and while it may be allowed that his pic tures show much variation in their degree of merit, it is fearlessly asserted that in the well-known instances of ' Once Bitten, Twice Shy,' ' The Order of the Bath,' ' In Disgrace,' ' Sweethearts,' and ' A Special Pleader,' he attained a perfection of drawing and a felicity of sentiment that will maintain his reputation for many a long year to come." Indeed, as his nearest neighbour and one of his nearest friends, I can vouch for the truth of this. How often he has said the same to me ! How often has he regretted that circum stances prevented his escaping from "manufacturing pictures for the market" — a market that made so much out of, and gave so little to. Burton Barber ! It cannot be truly said that he enjoyed his work. He disliked thinking his subject out, and was quite miserable during its inception. The sight of a new canvas made him ill, and the spectacle of a new frame, which generally means the completion of the picture for which it is made, invariably upset him, for, true 12 CHARLES BURTON BARBER. artist as he was, nothing he did satisfied him. He was not imaginative, he was not prolific, and he was not a "potboiler." Had he been one, he would have rapidly amassed a fortune. He made a name, and he left it to his imitators to make the money. He was a lover of animals, and he loved painting them; there fore his portraits of them gave him pleasure. In his subject pictures, though, his interest vanished with the painting of the animal ; yet how conscientious he was, and how^ he painted and repainted every detail ! Everything required for the picture was bought or made. The wall-paper was selected for a design, and was actually pasted on a panel ; the furniture was bought and added, and days and weeks were spent in transferring the design of the paper and the polish on the most modern of chairs to his canvas. Burton Barber was never guilty of humanising his animals, and in this he stands alone, for the greatest of all humorous animal-subject painters could not resist wandering from truth to give human expression to his subjects — not only facial contortion, but bodily contortion as well — a fact which greatly distressed Barber, for those he admired, from Landseer downwards, descended to clap-trap, which he rightly thought was bad art and totally unnecessary. Take, for instance, the picture I consider Burton Barber's most humorous work, " Once Bitten, Twice Shy." Look at that puppy's expression and attitude. It is natural, and yet how comic ! How perfectly the painter adapts the animal to the part, and yet it remains an animal ! Not a muscle of its face or body is contorted for effect. So it is with all Barber's pictures, and in this he stands pre-eminent amongst animal painters. These subject pictures have been so reproduced and scattered broadcast that they are as familiar in the nursery of the mansion as they are on the wall of the cottage dining-room, for in spite of Mr. Andrew Tuer's protest against these " sticky, evil-smelling chromes" given away with Christmas numbers, I venture to think that, bad as the majority are, those copies of Burton Barber's pictures tvere welcome, and although Mr. Tuer may be right in saying that servants sniff at chromos and refuse them wall-space CHARLES BURTON BARBER. 13 in the bedrooms, it cannot be true of such good, refined, artistic work as Barber's. His pictures speak for themselves. Everyone knows them, but few are aware of the quantity of work Barber executed for the Queen. He painted nearly all her pets and favourite dogs, combining many with a group of her grand children. Indeed, it was for her Majesty that he painted his last picture, most of the work in which he did at Osborne in the summer of 1894. The Queen is seated in her pony carriage, several children of the Prince and Princess Henry of Battenberg are grouped in the foreground, together with the usual bodyguard of dogs, while Clark — the man-servant who occupies the position formerly held by John Brown — appears a little in the rear of the carriage, with one of the Indian servants. The portrait of the Queen, according to those most competent to judge, is an absolutely faithful one ; while the cream colour of the pony, the red and blue of the harness, the green lawns of Osborne, and the azure of the distant Solent combine in making a very unusual but not unpleasing scheme of colour. It was during the progress of this picture in his pleasant studio in Regent's Park that his friends saw that, if not the very last picture he would paint, it would be the last he could carry out for the Queen. The insidious disease that was killing him by degrees was gradually wearing him out, and he could not have borne the strain of travelling. A few weeks later the Queen did send for him, but the message came too late. He had sunk away as peacefully and quietly as he had lived. The Queen graciously sent a representative to the funeral, with a wreath bearing the inscription, "A mark of admiration and regard from Victoria R.L" It would be a mistake to suppose that Mr. Barber's gifts were confined solely to painting. He was a skilful and delicate carver, an ingenious worker in metal and wood, a dexterous mechanic, even a photographer whose portraits and landscapes displayed the highest technical excellence. His inventive genius was mani fested in connection with the fittings used in manipulating his 14 CLLARLES BURTON BARBER. camera, and in a variety of quaint contrivances which conduced to the comfort of his studio. To a cultivated and refined literary and musical taste he united a strong attachment for scientific pursuits and a passion for studying Nature in all her varying moods. It would be out of place for a brother artist to say exactly upon what pinnacle of fame the reputation of Burton Barber should rest. The greatest skill is often wasted on work not worthy of it, and the best painters have not had the best chances. In the few lines I have written, my wish has been to j)oint out that Barber never really had justice done to his delightful work, and that his unpublished studies are perhaps more interesting than his published pictures. But these words of mine are not required to set forth that no artist that ever lived should, as a man, be placed higher than he who passed away on the 27th of November, 1895. He was a delightful companion, the gentlest and truest of friends, and the sweetest-natured man that ever held a brush. May Day, 1896. THE ORDER OF THE BATH. (By permission of the Fine Art Society.) IN DISGRACE. {By permission of Mr. I'homas McLean.) CAT AND DOGS BELONGING TO THE QUEEN. SWEETHEARTS. {By -permission of Mr. Thomas McLean.) MISCHIEVOUS PUPPY; OR, TIT FOR TAT. {By permission of the Proprietors of " The Grapliic.") DOGS BELONGING TO THE QUEEN. FOUR-IN-HAND. {By permission of Mr. Thomas McLean.) TRUST. ^ {By permission of Mr. Thomas McLean. ) "OSWALD." J A ifi/tfO A SPECIAL PLEADE R. {By permission of Mr. Thomas McLean.) a cubby-house. {By permission of Messrs. Peek, Frean * Co.) PRINCE ALEXANDER OF BATTENBERG, AGED 2 MONTHS. RIVALS {By perinission of Mr. Thomas McLean.) a MONSTER. {By permission of Mr. Thomas McLean.) "DARNLEY.' RIVAL ATTRACTIONS. {By permission of Messrs. Maclure, Macdonald d; Co.) ^?^f;J^«5*^- : FIRESIDE FANCIES. {By permission of Mr. Thmnas McLean.) THE QUEEN'S FAVOURITE DOG, "MARCO." the NEW KEEPER. {By permission of Messrs. Arthur Tooth ds Sons.) DREAMLAND. {By permission of Messrs. Arthur Tooth <& Sons.) DOGS BELONGING TO THE QUEEN. b>>iM ars^pK^^i-'ifaaaajaLJ^ -"-"^^^-^---¦^^T A LUCKY DOG. {By permission ef Mr. Thomas McLean. ) COMPULSORY EDUCATION. {By permission of Mr. Thomas McLean.) PRINCESS MARGARET AND PRINCE ARTHUR OF CONNAUGHT. {By permission, of Mr, Thomas Mcl..ean.) coaxing IS BETTER THAN SCRATCHING {By perjnisslon of the Proprietors of " The Illustrated London News.") amateur GARDENERS. {By permission of W. Gililan, Esq.) PRINCE DRINO AND PRINCESS EVA OF BATTENBERG. treu und FEST (FAITHFUL AND TRUE). {By permission of J. D. Stange, Esq.) 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