Sir Lawrence Alma-Tadema, OM, RA, (British, 1836-1912)

The Education of the Children of Clotilde and Clovis

The Education of the Children of Clotilde and Clovis
signed and indistinctly dated 'L. Alma Tadema 18..' (upper left)
oil on panel
65 x 91cm (25 9/16 x 35 13/16in).

Provenance
Commissioned by Ernest Gambart, London, 1868.
José de Murietta Collection; Sale, Christie's, London, 23 May 1873.
Thomas Agnew & Sons, London (acquired from the above sale).
E Brander Matthews Collection, New York (acquired from the above).
James H. Stebbins Collection; Sale, American Art Associations, New York, 12 February 1889, lot 74.
Anon. sale, American Art Associations, New York, 5 April 1918, lot 165.
Holland Galleries, New York (acquired from the above).
Private collection, Florida, by 1973.
M. Knoedler & Co, New York.
Anon. sale, Christie's, New York, 3 February 1978, lot 167.
MacMillan & Perrin Galleries, Vancouver.
Anon. sale, Sotheby's, New York, 29 May 1980, lot 39.
Anon. sale, Sotheby's, New York, 31 October 1987, lot 67.
Private collection, Canada (acquired from the above sale).

Exhibited
London, French Gallery, 16th Annual Exhibition, April 1869, no. 54.
New York, The Emily Lowe Gallery, Hofstra University, Art Pompier, Anti-Impressionism, 1974, no. 163.

Literature
Athenaeum, 10 April 1869, p. 510.
Illustrated London News, 10 April 1869, pp. 360-361.
J. Dafforne, 'The Works of Lawrence Alma-Tadema', Art Journal, XXVI, 1875, p. 136.
E. Shinn, Art Treasures of America, vol. I, 1879, p. 95.
C. Vosmaer, L. Alma-Tadema and C.J. G Vosmaer, Alma-Tadema Catologue Raisonné, unpublished manuscript, Leiden, c. 1885, no. 76, 85.
J. Belcher, 'The Royal Gold Medal, 1906 presentation to Sir Lawrence Alma-Tadema', Journal of RIBA, London, 3rd series, vol. III, 30 June 1906, p. 444.
R. Dircks, 'The Later Works of Sir Lawrence Alma-Tadema O.M., R.A., R.W.', Art Journal, supplementary monograph, London, December 1910, p. 27.
V.G. Swanson, 'Alma-Tadema: his forgers and his imitators', 19th Century II, New York, Winter 1977, no. 4, pp. 66-70, pl. 4.
V.G. Swanson, The Biography and Catalogue Raisonné of the Paintings of Sir Lawrence Alma-Tadema, London, 1990, pp. 150-151, no. 107.

Lawrence Alma-Tadema finished studying at the Antwerp Academy in 1858, subsequently joining Louis De Taeye's studio. This was instrumental in Alma-Tadema's training, helping to hone his historical research skills and cement a focus on archaeological accuracy. He then joined the studio of Baron Henri Leys, considered one of the most important painters in Belgium. Whilst in Leys's studio, Alma-Tadema painted his acclaimed oil of 1861, Education of the Children of Clovis (School of vengeance, Training of Clotilde's sons). The work, larger than any known painting from this early period of Alma-Tadema's career, was widely exhibited ; the dealer George Ebers declared in 1886 that the work, 'first laid the foundation of [the artist's fame]'.1 Another critic claimed that it showed four elements of the artist's style: historical authenticity, genuineness of accessories, clarity of colour and skill in grouping figures.2

During the period between 1861?1865, Alma-Tadema painted four other works showing the history of the Merovingians. The Merovingians were a dynasty of Frankish kings, who ruled in ancient Gaul, from the 5th to the 8th centuries. The founder of the dynasty, Clovis I, reigned from 481-511 AD, and overthrew the last Roman governor to unify the Frankish kingdom, expanding the Frankish kingdom to include the Netherlands and much of the territory of what is now present day France. Merovingian history was not a very popular choice at the time for artists, although perhaps intriguing to Alma-Tadema due to his Dutch heritage.

Painted in 1868, the present lot, similarly to the 1861 work, presents an interpretation of 6th century events. The parents of Clovis' wife, Clotilde, were murdered by Gondobald, King of the Burgundians. Clotilde is shown training her sons to avenge the murders. The drama of the work is heightened by the young age of her sons: Chlomoder attempts to hit the target with an axe while Childebert awaits his turn, gripping an axe in his hands and the youngest, Chlothar, remains at the Queen's side. The stoic Queen is depicted, seated in a throne, her voluminous attire and pose radiating strength; she assesses the training ground with a steely, unflinching gaze.

The architecture in the present version is different from the 1861 oil. According to the Journal of the RIBA, the changes came in the wake of Alma-Tadema's trip to Italy in 1863, where he 'studied the Early Christian churches'. He has also implemented a more enclosed composition (without the glimpse of open, blue sky and the greenery in the courtyard) and with less figures present, it focuses the viewers' attention on the Queen and her protégés.

The present lot was commissioned by Ernest Gambart, the hugely influential Belgian born dealer and print publisher. Gambart was instrumental in promoting a number of artists; among the most popular reproductions that he published were William Holman Hunt's The Light of the World (1858) and William Powell Frith's The Derby Day (1858). Gambart met Alma-Tadema in 1864 and encouraged him to come to England under his patronage. Alma-Tadema depicted Gambart in his Royal Academy exhibit from 1874, entitled The Picture Gallery (Towneley Hall Art Gallery and Museums, Burnley).

1 G Ebers, The Ebers Gallery, Stuttgard and Lepzig, 1886, p. 23.
2 V.G. Swanson, The Biography and Catalogue Raisonné of the Paintings of Sir Lawrence Alma-Tadema, London, 1990, p. 129.