Portrait of Frank Spenlove-Spenlove 1904 by Arthur Hacker ARA

John  Francis Spenlove - Spenlove

RCA.,  RBA., RI., ROI., RBC., FRSA, FRGS. 1868 -1933

Alias:  Frank Spenlove;  Frank Spenlove Spenlove and J.F.Spenlove






"I look at Nature, I go home and dream of her

and I paint the dream "

Frank Spenlove-Spenlove


Frank Spenlove-Spenlove

The Complete known works of art

Signature Frank Spenlove-Spenlove

Portrait of Frank Spenlove-Spenlove 1904  by  Arthur Hacker ARA

©Family Hacker







Frank Spenlove-Spenlove: A Biography & Catalogue of his Life


Written & compiled by David Freeman


Frank Spenlove-Spenlove. A demonstration lesson in the studio

^ Frank Spenlove- Spenlove in the Yellow Door Studio





The Spenlove Biographic:


 Frank Spenlove-Spenlove was a hugely talented, prolific & dedicated British artist and a great mentor to hundreds of young artists learning to paint. He worked in both oils and watercolour.

  'Frank' John Francis Spenlove, was born in the Scottish town of Bridge of Allan, Sterlingshire, on the 24th February 1864 and died of pneumonia in Chelsea in the May of 1933.

He is buried in St. Mary's Church yard, Purley on Thames, England.

 The son of Captain John Francis Spenlove-Spenlove, late of the Fife Artillery and originally from Abingdon, Berkshire. His mother was Mary Sparrow. Frank had two sisters, Susan Mary Anne born in 1861 in Merton, Surrey and Jane, born about 1862.
Frank was also the Great-Grandson of Sir Marmaduke Constable, a High Court Judge.

 In 1891, Frank Spenlove married Clara Florence Bostwick-Strong, a Canadian girl who came from a wealthy family, originally from London, Ontario. Clara had suffered deafness since contracting an infection in childhood and she and Frank had three children; Adelaide, Theodora and John Francis.He like his father, became an accomplished artist, choosing to live and work in Cornwall.

 When only a boy, Frank Spenlove and his two young sisters suddenly faced the loss of their father and Frank became the man of the household. Now with new and difficult challenges to face lying ahead.

 From a very early age, Frank Spenlove - Spenlove, not only was expected, but wanted to follow in his father’s footsteps and become an army officer, fully intending to become a soldier.
But for Frank, this was not meant to be.

 The sudden death of his father was about to force Frank into other more responsible shoes.


Mr. Spenlove.  Becoming a man:

 Financially, things at home were in an unhealthy state following the death of Captain John Francis. So at the age of seventeen Frank became the breadwinner and entered the commercial world as a mercantile clerk. After only two years he was earning a remarkably good living for such a young man. And And Frank had developed serious and adult aspirations and was facing excellent prospects of promotion. But things were about to change for him again!
Life seemingly has a strange way of altering matters forever and when least expected and it was about to turn Frank Spenlove’s world upside down.


 In his youth, Frank Spenlove was a privileged lad, attending private school at St. Paul's in Hammersmith. An independent and select London boys school.
It was here that he became an excellent scholar, athlete and a promising academic. Particularly so as a mathematician. This was a subject that he not only enjoyed, but excelled in.  Frank Spenlove also had a great love for art and of drawing, which clearly came from his mother and certainly not from his father's side of the family.

 Frank’s biggest claim to fame 'so he said' and one that he maintained all his life, was that he was distantly related to the British artist John Constable, primarily as his great grandfather was a namesake. But whether or not that was a sign of the practical joker in Frank Spenlove the man we will probably never know.

And something of a joker he indeed was.

 His grandson recalls how one night at dinner, Frank had rigged up a small balloon under his plate. It was a contraption designed with a length of tube and finished with a rubber hand pump leading back to Frank underneath the table. The astonishment of the 'self rising' plate still remains in his memory.

  Frank Spenlove is most noted as an artist for his fine atmospheric landscapes, worked in both oil paint and watercolour. They were often of subjects that he painted in Suffolk and particularly in Holland, which reflected in his style. He also worked extensively in Belgium and in Kent.
Though he travelled widely, often on his own, working in Italy, Spain and Tunisia in North Africa. he also visited Switzerland, Picardy and Brittany in France over a long and successful career as an artist.





Captain John Francis Spenlove Spenlove Fife Artillery

^This is a photo of taken of

Captain John Francis Spenlove-Spenlove Snr.

of the Fife Militia, Artillery Regiment,

by the late Reverend D. Cochrane at Cupar Manse,

in Scotland, in 1865.


Frank Spenlove's addresses were;


1871: Camberwell, St. Giles Camberwell, London, Surrey, England
1881 When he was 17, he is listed as a mercantile clerk and living at, 50 Oakley Crescent, Chelsea, Middlesex.
These houses are described in the History of Chelsea as small, Italianate houses in brick and stucco on the west side of Manor Street. Now long since been demolished and replaced.

1885: Studio - Shortlands Kent
1888: The Parade, Beckenham Kent

1891: The Hermitage, Croyden Road, Beckenham.

1895; Kent House, Lansdowne Road, Notting Hill. London.
1896: The Studio; 2, Stafford Place, Buckingham Gate, Westminster, London.
Less than five minutes walk to the Yellow Doors Studio in Victoria, which was set up in the same year.

1900: Studio, 28, Conduit Street. London.
In 1903 he moved to; The Corner House, 69 Addison Road, Kensington. London and latterly to;

Thames Court, Pangbourne.

1911: Studio, 1 - 16 Albert Mansions, Victoria Street, London

1915: Studio, 116 Victoria Street. London.

And finally to; 12A, Shelly Court, Tite Street, Chelsea.





 Frank Spenlove had always followed his hobby as an artist and he asked for and eventually obtained a room which he made into his first studio. It was a place where; “free from others eyes, I could work in a manner dear to my artistic soul”, he wrote.
It was here in his very first studio that he painted a portrait of his father, much as he remembered him in his military uniform. Sadly now this is a painting which is long lost.





A most fortunate meeting:


"The landscape painter must aim at the interpretation of Nature, rather than the representation of Nature."

F. Spenlove-Spenlove

William Powell Frith  


Now fate makes a twist in Frank Spenlove's career.


 One day whilst visiting Frank's mother, a Mrs. Jane Ellen Panton, who was a writer of popular domestic and advise books and one of the daughters of the eminent British artist William Powell Frith R.A., happened to see the portrait that Frank had painted of his father and asked for the loan of it to show the great artist.

Somewhat impressed and probably mostly flattered, Frank agreed.

 William Powell Frith so admired the painting that the following day he wrote to his daughter;

“ It would be a pity if such a talent were to wither.”

And William Powell Frith wasn't about to let it.


 An invitation from Frith followed, beckoning the young Frank Spenlove-Spenlove to his London home, where we are told, the great artist was; "very kind and complimentary".

The praise Frank received about the standard of his art was indeed genuine praise. And coming from a great and well admired artist, Frith urged the young Frank Spenlove to take a new course in life's direction and take himself on a drastic career change.

  Frank tried admirably to explain to the man his difficult position and they discussed at length the families’ current circumstances.
He told him that he was doing well in business and now that he had others depending upon him, he could not possibly alter course. Certainly he could not afford a long an expensive period of training.
Though Frith understood the difficulties he faced, he pressed on with his advisory, still trying to persuade the nineteen year old to become a painter. Ending the meeting with an reassuring;

“I am sure you will do. I am sure you will do.”


 Frank Spenlove returned home from his meeting with William Powell Frith and told his mother about the conversation he had with the artist.  Not unexpectedly anxious, she made it very plain to Frank that she didn’t want him to make a grave mistake by throwing away his certainty in business for the dreadful uncertainty of art.

 Though it was to be a difficult financial road that lay ahead of him, Frith’s praise had sparked a new flame and ambition in Frank Spenlove's heart and an artist he became.






St. John' Wood School of Art





The Road Ahead:


 The first step on that long road for Frank was to be a spell at the St. John’s Wood School of Art in London, founded seven years earlier. Though at the time it was more an artist's studio, nurturing fresh talent about to enter the Royal Academy Schools than it was the fully fledged art school it was to become. However, it was a fine grounding for the ambitious young artist.

Though Frank rightfully used the  designatory letters 'R.C.A.' after his name, this was applied for his affiliation to the Royal Cambrian Academy and not the Royal College of Art, as has been alluded to by some commentators and would have been expected of him having trained at St. John's Wood.

  Here, practising under the Peruvian born artist, Abelardo Alvarez Calderon (1847- 1911) later to become a RA. himself, Frank studied anatomy, composition and painting techniques. And to pay for his private tuition of five shillings, Frank’s evenings were taken up with coaching students who needed practical help with mathematics. He would do whatever part time work he could find to support his mother and sisters.








   From Calderon's London studio, as I have already said, the next stop would normally be attendance at the Royal Academy school and in his own art school's prospectus and advertising, there are implications that he may have had a Royal College of Art affiliation.
But he apparently didn’t study there or ever become an Associate member [ARCA] as had been suggested by other commentators.

  Frank would now admirably take himself off, first to Holland in order to study the methods of the Netherlands painters whom he had always admired. Then on to Belgium's Royal Academy of Fine Arts in Antwerp and finally to Paris, where we draw a blank at which studio he attended and identify artist who tutored him.

 In 1887 Frank was rewarded for his efforts, when the Royal Academy exhibited two of his paintings which came about as a result of this tour.

First came ~ The Home of the Heron - Early morning #43,

and ~ In the Stack #742.

  Both pictures soon found buyers, which was a great relief to Frank as he was getting desperately low on finances.

  The following year he was successful again at the Royal Academy. This time with a painting called; the Farmers Daughter #849 ~1888.

*But in 1889, he got his big break, displaying no less than seven fine paintings at the Royal Academy Summer Exhibition:


Silver Morn #225 - "In the Evening, it shall be light" # 493 - In the low country - early morning #804 - L'etude #841 - Eventide after rain #921 - A Grey Morning #963 and finally; Wane of the year #1242.


Abelardo Alvarez Calderon


A full list of the Royal Academy paintings appears below this Biography









Varnishing day at the RA ~1889



  Varnishing day’ at the RA was a special event in the Royal Academy calendar. 
Traditionally one set aside, just before the official opening of the Royal Academy Summer Exhibition.   It was a time when artists could 'retouch' or 'varnish' their paintings, with some even completing unfinished works of art or attending to paintings they felt needed additional features.

But in reality ‘Varnishing day’ had become a celebrity preview day. A time when journalists and critics could meet and discuss the works on display and well in advance of the official opening to the public.

 That bright May day, Frank Spenlove-Spenlove was dutifully in attendance at the Royal Academy when he noticed a man staring at one of his works called “At Eventide, it shall be light” 
He turned to Frank and said, “do you know if the artist who painted this picture is here?”

 Frank introduced himself to the man as the painter and received a fine compliment.
“That is a good picture, a very good picture indeed Sir.

Obviously impressed, he asked Frank if he had any more works on display. With six more hanging at the exhibition for him to discuss, it was a fortunate meeting. Coming from Sir John Everet Millais, the creator of ‘Bubbles’and the masterpiece ‘Ophelia’, that was a resounding compliment that had been paid to Frank Spenlove and a fine reward for all his hard work and what began with all the uncertainty of a professional career in the world of art.







1889 and Frank's 'Matter of Do or Die'.

  Frank person ally recalls the day he met Millais in his own words, telling the story of a strange dream he had before the Royal Academy Exhibition and of the pain he felt at the destruction of one of his Royal Academy paintings, just few days before entry closed:

  “The year 1889 was a memorable one for me. In the first place I had no fewer than seven works in the Royal Academy that year, and in the second place, in connection with one of those pictures, called “At Eventide, it shall be light” I had the following remarkable experience. – at least I think it may justifiably be called remarkable.

 On the Sunday night before “Sending in day”, I had a dream, a very bad dream. I dreamt that I saw my “Eventide” on the easel as I had left it the day before, but down the centre of it ran a cascade of water which came from nowhere, and in my dream I saw my picture, one on which I had spent so much thought and labour, quickly washed away. The dream was most vivid and I awoke from it feeling very nervous and upset.
  At breakfast, I told my mother that I was sure something had happened to “Eventide” and leaving my plate untouched, I hurried over to Beckenham - I was then living at Shortlands – and rushed into my studio.
There lay my beloved picture on the floor, with a great, gaping rent where the handle of the easel had transfixed it in its fall – A fall due no doubt to my having left it carelessly placed on the easel.

 If my dream had in someway prepared me for calamity, it was none the less a terrible blow, and for a few minutes I was quite unmanned. And then I pulled myself together, an the damage being irreparable, I posted off to town, got a new six foot canvas and set to work to re paint my picture.
I had but four days to do it in, but succeeded, with just an hour or two to spare.
Further, I am sure that the second edition of “Eventide” was much better than the first, for it was a case of do or die.
Anyway, “Eventide” was well hung and attracted the attention of Sir John Millais, and gave me a decided lift in my profession.”

Frank Spenlove Spenlove

Recollecting for the 'Otago Witness', Issue #270, 31st. January 1906
“The Otago Witness was a significant example of the illustrated weekly newspapers that were a popular and important form of publication in New Zealand in the 19th and early 20th centuries.”










Frank Spenlove Spenlove and

the Yellow Door School of Landscape Painting.


 So it was to be in Beckenham in Kent, back in 1896, that Frank established the now famous Spenlove School of Modern Landscape Painting.

Better known as the 'Yellow Door School of Art'.

 Trained practically himself within the more relaxed Parisian studio system, he passionately maintained that;

"The French system of teaching is better than the English because French masters take students up and train them individually."

 This was a firm policy and method he adopted and followed all his life, running his own art school in much the same, less formal and relaxed way. Thus he allowed his pupils 'great room for individuality' and the additional scope to 'develop their very own style.' Though endowing them with; "superior technical knowledge" and the basis with which to accomplish it.

 Frank would devote a generous amount of time to each student, suggesting individual improvements and urging them on with great enthusiasm. Teaching them to observe and develop their art. All of his pupils truly admired the man.

 Observers to the art school sessions record how impressed they were with what an extraordinary 'variety' of styles were to be seen amongst his students' work.

Frank Spenlove-Spenlove RA 1907

Frank Spenlove-Spenlove RA 1907







The Yellow Door Art School was originally located at No. 34, (later No.80) Beckenham High Street, but in November of 1917 it moved to its permanent home 116, Victoria Street, in London.




 Though the original building in Beckenham was destroyed during the war and the schools future records are equally sadly lost, likely also destroyed during the war years when stored with his paintings and chattels, Frank's legacy lives on. With huge number of his art students becoming successful artists in their own right. As can be attested to by the copious list of numerous artists we do know that trained under him. Though this is only the tip of the iceberg.

See section below:

Some notable Students emerging from the Yellow Door School of Painting:

For students of the arts, apart from those just interested in the fascinating life of this artist, it may be useful to understand the background to:



The Development of the British Art School system;


  Towards the end of the 19th century, during the period in which the Yellow Door Art School in Beckenham was first established, there was a unique boom in the development of both public and privately run British art schools.

Between the 1850s and 1900 there had been a dramatic, nation-wide mission launched by the government, one which had established hundreds of art schools across Great Britain and Ireland and all in part-sponsored and approved by the government’s own ‘Department of Science and Art’ which was based in South Kensington.

  The Royal College of Art was the main institution behind the push and at was at the true heart of this scheme. Though the Department of Science and Art itself controlled what was a very complex and comprehensive system of art education in Britain.
This included its examinations and inspection, competition and the awarding of certificates and medals of merit to encourage excellence from its students.

 The town of Beckenham was a good choice for establishing one of these new art schools and the Beckenham School of Art, established in 1901 was first to be officially set up.  Beckenham was after all, an affluent London suburb and there was no shortage of earlier private schools vying for the tutoring of students in art. As can be attested to by advertisements appearing in Local Newspapers around the 1880’s.


“Morning Classes for the Daughters of Gentlemen including Sketching Classes by Mr.Buckman of the RA Schools.”        [Beckenham Journal]

Another such advertisement boasted for fledgling artists…;

“Rooms at 1 Rectory Road, with top light and large windows”


 For Edwin Buckman, art tutor to Queen Alexandra, his was a private art school and one that in turn became the studio of Henry Carr RA.

After him it became the studio of the painter, Laurence Norris RA, then two other artists took over, one called William Ainsworth Wildman and finally another called Wolfe Kassamov, knowledge of whom little is recorded.



 A much more colourful example and the very first establishment to actually stake claim to the full title of ‘Art School’ was;


The Beckenham School of Music and Art; based at number 10 -11 The Parade, Beckenham.

 This training school seemingly had unlimited pretensions and an aristocratic, though interchangeable pedigree. Offering an extravagantly colourful, almost pompous style.

It boasted a manicured staff of; “fifty professors”and was led by its eminent Director of Studies, the classical composer of music, Mr. Arthur O’Leary.

It had an art master called Hugh Bellingham-Smith, who was a medallist of the Slade School of Fine Art at London University and he was later replaced by another art master called Mr. Pyne.

 Like Frank Spenlove's school, this school sought to teach drawing and painting from “Natural Objects and Life. With a special attention given to the encouragement and development of individual talent”.


 So it was into this rich and wide open market place, that in 1896 and right alongside similar local art training enterprises, Frank Spenlove Spenlove, opened his own art school, the Yellow Doors Studio. An event which was announced, in  true flourishing rubric 'Spenlove' pen brandishing style - thus:




The Spenlove School:

“For years past the Private Studios of English Artists of distinction have
been practically closed for the purpose of study in the various branches of
art, and even when opportunity has presented itself the terms charged have
been so high that only those who happen to be in a position to afford such
fees could receive the benefits, but in the instance of the Spenlove School
its immediate object is to provide high class modern instruction in all
branches of Drawing and Painting at moderate terms, and the system of
training employed based upon that encouraged in all First Class Continental Studios.

Classes include Figure, Portrait [from life], Landscape, Marine,
Flowers, Black and White for Illustration, also sketching out-of-doors
during the summer and Miniature Painting, Special Landscape from the Sketch to the Finished Picture,

Drawing for the Press and  Lessons by Correspondence.”



 Mr. Spenlove was the self proclaimed 'Principal and Director 'and his assistant, a 'drawing master' who is an elusive man who I can find little factual detail of. (Apart from a likely listing in the Census.)

 He was the implausible sounding, but no doubt a man adding great 'Continental colour' to the Spenlove school prospectus and the campus,

 Signor Amando Profile, who Frank spelled as 'Profile'. He was actually the Italian,  Peter Armando Profill, the late master at King¹s College, London.


 The Yellow Door school of art offered practical tuition both in the studio itself, to those in specific attendance to one of the first private art schools to be opened near London and even more uniquely, by offering correspondence courses to those further afield.
The Spenlove art correspondence courses would open up to the world, real practical training in painting and moreover professional critique and advise from a leading exponent of painting at the time. This came from an increasingly famous man and an artist that had exhibited near 100 times the RA and who was represented in some of the most major collections in the Commonwealth including that of the Collection King George V.  Frank Spenlove Spenlove.


 Allegedly no fewer than fourteen thousand students passed through the Spenlove art studio, though this is in no way confirmed and is typical of the flowery and often exaggerated claims made by art schools of the times. All to be taken with a pinch of salt. But Frank certainly nurtured and tutored many, many artists and even more through his successful correspondence courses.

 What is very clear however, is that his attendee students travelled from all around the Kingdom to be trained under Frank's watchful eye and we are told, from as far afield as; Russia, Japan, France, Spain, Canada, Australia, New Zealand and the United States. All wanting to train at his truly 'international' school of art.

He also offered what was advertised as; 'SPECIAL OUT-DOOR PAINTING CLASSES' En plein air, near London during the Summer which is covered later.


 Private art schools of the time were prone to puffery, high on labels, titles and rather self assumptive claims, but were often short on content and invariably run with meagre resources in rented rooms. But Frank's was a serious concern and well respected. What they did offer had great associative appeal, by way of drawing and painting 'like a real artist', but without any of the obligations, regulations, examinations and presentations that art students in the official art schools worked to.

 But it was obvious that Frank wanted his art school to have the best of both worlds and like the new state run art schools, when assessments were made of his students works, or if they were lent to exhibition, they bore the art school's own rubber stamp.





This is an ongoing project:


* The author is grateful to many of the members of Frank Spenlove-Spenlove's family for the valuable information and images they have supplied. This detail has enabled me to make this information about the artist much more reliable for students of art history and thus, for the enjoyment and appreciation of all.


Please contact us if you own or know of a student of the Spenlove School

of art, or of details of a painting by Frank Spenlove- Spenlove that is not included

in the catalogued lists below.

We also seek more information on; Joyce Deighton Dixon

a former ex student & we believe, his studio assistant.

And the Irish born painter Helen Sophia O'Hara and  Mary Dickinson



Thanks to Mr William Forster for this Mary Dickinson floral mage;




Advertisement: Beckenham Journal 12.01.1901


(Founded in 1896 by Frank Spenlove-Spenlove
R.C.A., R.B.A.



Church Hill – Beckenham

Principal & Director
Frank Spenlove-Spenlove
R.C.A., R.B.A. &c., & c.

Member of the Council (By Royal Charter) Royal Society
Of British Artists. 14 years Exhibitor Royal
Academy. Member Royal Cambrian Academy,
Paris, Munich, Brussels &c. Highest recommendations
From Royal Academicians and leading
Painters of the day.

Only a limited number of Students received.

Assistant Drawing Master :
( Late Master at King’s College )

Object of the School. – For years past the
Private Studios of English Artists of distinction
Have been practically closed for the purpose of
Study in the various branches of Art, and even when
Opportunity has presented itself, the terms charged
Have been so high that only those who happen to be
In the position to afford such fees, could receive the
Benefits in the instance of the “ SPENLOVE”
School its immediate object is to provide high class
Modern instruction in all branches of Drawing and
Painting at moderate terms, and the system of train-
Ing employed is based upon that encouraged in all
First Class Continental Studios.
The classes include Figure, Portrait (from life),
Landscape, Marine, Flowers, Black and White for
Illustration, &c., also Sketching out-of-doors during
The summer and Miniature Painting.
Special attention is given to the encouragement and
development of individual talent and advan-
tages to those taking Art up professionally.



Conducted by SIGNOR A.PROFILE, under
Mr. S Spenlove’s immediate supervision.

Instruction- from the SKETCH to the FINISHED

BLACK AND WHITE & Drawing for the Press

Prospectus and further particulars upon appli-
Cation to the Principal by letter, or personally
at the Studios, on Fridays, 3.30 to 4.30.

Spring Term begins Tuesday
January 8th.







Advert 10.01. 1914

Principal and Director


R.I, Royal Institute of Painters in Water Colours
R.C.A, Royal Cambrian Academy
R.O.I., Royal Institute of Oil Painters
R.B.A., Royal Society of British Artists
International Honours.

Membre de la Societe des Artistes Francais
Member of the New gallery Society of Artists
Member Royal Institute of Painters in Water Colours (By Royal Sign - Manual )
Member Royal Institute of Oil Painters
Member Royal Society of British Artists ( By Royal Charter )
Member Royal Cambrian Academy
Member Japan Society
Member of Committee International Art Congress for the Development
of Drawing and Art Teaching 1909
Member of the Royal British Colonial Society of Artists
Fellow of the Royal Society of Arts
Fellow of the Royal Geographical Society

International Honours: Paris, Rome, United States, Munich, Berlin, Brussels, Leige
(Diploma of Honour 1905)
Gold Medalist Paris Salon 1901, and the picture “Funérailles dans les Pays Bas a jour d'hiver”
Purchased by the French Government for the state and placed in the famous Musée du Luxembourg Paris –
Also in 1905 when this single honour was repeated when the work “Trop tard – Return of the prodigal” was bought for the Luxembourg.
And again in 1906 when “Le dernier voyage” was acquired by the state for the Hotel de ville Paris.
The highest honours that can be given to a living artist.




The Yellow Door Scool of painting Stamp



Notable students emerging from the Yellow Door School of Painting:

  It is a remarkable achievement for Frank Spenlove to have taught, encouraged and fostered so many aspiring talents at the Yellow Door School of Art.
Many are artists that have been both successful in their careers but equally, influential in their own artistic circles.

 This is but a handful of people that I have discovered in my limited research, as all records of those attending the art school are lost. There surely are countless others who attended, yet to be added to this list.
What is obvious is the number who were deemed good enough to have their works hung at exhibition level. Just look at those RA's.

This surely is a measure of the man?

Paul PAUL RBA. British (1865 - 1937) Landscape and Portrait painter born in Constantinople .
Member of the Royal Society of British Artists 1903.
Exh: 1899-1932. RA 10, RBA 27, ROI 9. B4, Gl 1, GOU 1, L 27, M18,

Constance Helen BRADSHAW. (1873—1961) British;
Born Manchester. Primarily a landscape painter in oils. Working in Cornwall.
Exh; RA:16, SBA; from 1899 onwards (170); GL3, L1, NEA 1, RBA 133,SWA, 96.


Eleanor (Weymouth) HUGHES RI (1882 – 1959) Born in Christchurch, New Zealand. 

Landscape artist in watercolours and print maker:
Trained under Stanhope Forbes. Became a leading member of St Ives School in Cornwall.
She exhibited at the RA 37 times (all pre 1939) and the Royal Institute of Painters in Water Colours 34 times. She also exhibited a the New English Art Club (7), Glasgow Institute (9), the Society of Women Artists, the Walker Art Gallery, Liverpool, and elsewhere.
She exhibited with the St Ives Society of Artists 1933-late 1940s and took an active part in the organisation.  Her works are held in Public collections.

Thomas Sherwood LaFontaine (1915-2007) Born in Turkey to English parents.
Special interest in animal paintings in oils and watercolours Horses, dogs, sporting. Often mistaken for Munnings. Exh RA 8.

  Ba NYAN (1897-1945) is heralded as the greatest modern painter to emerge from Burma. Founded an Institute of art of his own for Myanmar art students in Burma. Played a key role in introducing western techniques to Burmese artists

Margaret THEYRE WIAC British ( 1897-1977 ) Born Northampton painted mainly landscapes, horses and figures but was also a potter. Worked extensively in the Pyrenees.
Exh;1921-40. RA 2, RBA 2, RCA 18, RHA 3, RI 3, D 1, Gl 1, L 3, LS 3, SWA 3, WG 18 and Cooling Galleries.

  Theo (Theodora) MOORE (1879 - 1968 ) British watercolourist painting landscapes also in oils. Born in Birmingham.
Exh: 1911-20) Exhibited at the RA, AB 2, RI 2, ROI 2, SWA 9. Paris Salon 1927 Abbey Gallery.
Became Principal of the Cathcart School of Modern Art

Phylis Elsie Wedlock PRIDE R.Cam.A., SWA ( Fl 1938)
Oil Painter of Portraits.
Exhibited at the RA, RSA, RP P 1, ROI 1, and abroad. Received an Honourable Mention at the Paris Salon 54, Silver medal 55, and a Gold medal in 1960.

  Phyllis HESELTINE ASWA (Fl 1920’s ) British Children’s portraitist in watercolour. Born in Essex.
Exh 1912-1935. RA 4, RBA 2, RCA 3, RI 1, ROI 1, SWA 16, R.Cam.A, P 4, Paris Salon Elected Associate SWA in 1915

Charles Mayes WIGG (1889-1969) British landscape artist and etcher, particularly Norfolk and the Broads.
Exhibited at the RA in 1915, the British Watercolour Society and in Norwich and Yorkshire.

  Agnes Marion MIDDLETON ( fl 1915 -1950 ) British.
Norwich art circle artist painting mainly Landscapes and flower studies.
Exhibited: RA 1, and Nottingham 6.

Edith M. VICARY SWA. (Mrs Bulteel) from Exeter; B Cornwall: Exh 24 works between 1902 to 1915 – SWA. known to exhibit from 1901 to 1914 at the Walker Art Gallery, Liverpool; the Royal Institute of Oil Painters; The RA; the Dudley Gallery; and the Society of Women Artists


Joyce Deighton DIXON
Born Gateshead. Landscapes , Portraits and Flowers. Exh; 1919 Artists of the Northern Counties, (Laing) RA 1950, Glasgow Institute, Royal Hibernian Academy, Royal Scottish Academy, Society of Women Artists. Became Frank's studio assistant

Sheila Scott HENDERSON B 1910

  Edna W. GUY RSMA., (1898 - 1969) British; from Sutton in Surrey: Marine painter mainly in oils.
Exh: RA, RI, RSMA, RSA, NS, SMA, SWA, Paris Salon and widely abroad.

Rosa Ellen TAPP ASWA ( 1864 –1940 ) from Beckenham:– Exh 1902-1918 34 works + some florals Elected an associate of the Society of Artist of Women Artist in 1905 and she exhibited at the Royal Society of Artists, Manchester City Art Gallery, Royal Cambrian Academy and the Society of Women Artists and the Royal Institute of Oil Painters.

Herbert Francis PILGRIM (1915- ) British, born in Woolwich London. A landscape painter and photographer with a special interest in animal subjects. Exhibited in London.


Esther Studholme BARKER (1885-1975)
Esther S Hope New Zealand
Watercolourist travelled in Europe, painting in many countries also travelled to Malta.
Came to train and Exh; London 1911 and Paris.
Exhibited RA, Royal Institute of Water Colours, Scottish Watercolour Society. Society of Arts NZ 1919. Auckland Society of Arts. Otago Art Society The oldest society in NZ.
Six of Esther's watercolours are at the Aigantighe Art Gallery in Timaru. Represented in McDougall, DPAG, and Aigantighe Art Gallery, Timaru galleries NZ.

Lindsay Scott CLARK – (fl. 1937-1957) Born Forfar Scotland. Painter of Scottish Landscapes and marine subjects
Exh; Edmonton Art Club, and throughout Britain most noticeably in the Royal Scottish Academy and the Royal Scottish Society of Painters in Water-colours in Edinburgh, and the Royal Glasgow Institute. Royal Watercolour Society, The Royal Institute of Painters in Water-colours, Britain in Water-colour and the Royal Society of Marine Artists.

George RAFFAN ( Exh 1937-40) British landscape painter from Sussex.
Exh; RA 1, NEA 4, P1, RBA 3, ROI 4.

Cicely Brigit MARTIN. ASWA (1879-1947) born in Lambeth, London.
Exh 1899 – 1913 - 37 works; Painter in oil and watercolour of landscapes, figures and flowers.

Marie Olivia Hewson GUEST (1880-1966) Canadian, born in Nova Scotia. Studied under Spenlove 1913. Became one of Winnipeg’s most notable artists in the 1940’s painting watercolours.
Exhibited with the Royal Canadian Academy (1928), Women's International Exhibition (1928) and subsequently with the Ontario Society of Artists; Manitoba Society of Artists; Western Circuit; Two small-group shows in Winnipeg, Man.; Florida State Fair, U.S.A. at Tampa in 1952.


Henry Wellington WACK P. BsoA 1873 - 1955) (American) Born in Baltimore, Maryland.
Painted Landscapes in oils, Member of New York League of Painters
Became President of the Brooklyn Society of Artists. Works in Smithsonian American Art Museum

Morgan Alfred Thornley ABWS, NSA (1897 - 1965) Welsh
Landscape, coastal and marine subject painter in oils and watercolours, born in Cardiff. Exhibited BWS and provincially. Also exhibited extensively with the United Society of Artists.


Mary DICKINSON fl. 1935-1968 British Watercolour Artist - Flowers and Floral Paintings
Exh: NEA 1, P 3, RBA 1, RCA 4, RHA 1, ROI 4, RSA 5, SWA1.

Henry A. TRIER (British, 1877 - 1962) Landscape painter in Oils. Painted in France and Italy Exh 1925-29 - BAR 36, FIN 125

Joseph WEST BWS (1882-1930) British
Painter of watercolours, landscapes, animals and f scenes.
Exhibited at the RI 2, L 5, RCA 12, RWA, R.Cam.A, BWS

  Beatrix DOBIE (1887–1945) New Zealand
Travelled with Esther Studholme BARKER (1885-1975) Esther S Hope to England in 1911. Exhibited with CSA 1919–26. Painter of landscapes and horses.

Bessie COOPER (Australian) miniature painter, landscapes and portraitist.
Exh; Victorian Artists Society 1906. Finalist Art Gallery NSW., Archibald prize, 1922-24


Olive Dutton GREEN ( 1878 - July 1930 ) Australian landscape artist working in oils and watercolours. Worked extensively in Brittany.
Exhibited in Adelaide, London & Paris. 1920-24 Member of the South Australian Society of Arts; Society of Women Artists 3; Royal Institute of Oil Painters.

Bessie Adelaide FRY (Symons) Canadian (1884-1976)
Born Farringdon England. Emigrated to Canada. Landscapes in oil, watercolour and pastel. Also a printmaker. Founder member of Federation of Canadian Artists. Life member Edmonton Art Club, BC Society of Fine Arts,.
Exh: BC Society of Fine Arts, 1927-67 and Royal Canadian Academy 1927-33. Solo Exhibition in Jasper 1922 and Vancouver in 1933.


Ethel Lucy ADAM. NSA. British (Exh 1919 –35)
Painted primarily landscapes ( Scotland) in oil and watercolour, but also became an accomplished stained glass designer. Exh; B1, D3, L4, RCA 16, RI. Elected member of the New Society of Artists in 1925.

Mary DICKINSON  British Fl.1930

Liverpool Artist - Painting Florals / Flower Paintings - Landscapes in watercolours.

  Marjory Graham ARNOLD (1884 – 1940 ) Australian. Painter and printmaker. An active member of the arts community, she was a founding member of the Society of Women Painters and Exhibition Committee and the vice-president of the Women's Industrial Art Society in 1937.
Associate of the Royal Art Society, Sydney Society of Women Painters, Women’s Industrial Art Society, Queensland Arts Society, Society of Arts and crafts, New South Wales.

Helen Sophia O'HARA (1846 - 1920)
Irish watercolour painter
of Florals and landscapes


Mabel F GOOD (British) from Totnes Devon~

She Went on to write a book on oil painting under the pseudonym; Furze Walsh.

"How to paint in oil."

 A suicide pact saw her and her husband Alexander, take their own lives, bound together at the waist. They were found in the Thames above Teddington.











 James McNeill Whistler (1834–1903), who in 1888 lived next door to Frank Spenlove in Tite Street, was to christen Frank Spenlove-Spenlove's art school; 'Spenlove’s Golden Portal'

But why?

 Well Frank was a logical man and the fact that first Yellow Door Art School in Beckenham had a bright yellow entrance door on the front, the name just stuck.

 But it has also been called over the years; The Spenlove School. The Spenlove School of Modern Art, the Yellow Door School of Painting, Spenlove's Academy, the Spenlove School of Modern Landscape Art. Yellow Door Studio, the Spenlove Art Academy, the Yellow Door School of Painting and the Yellow Door School of Modern Landscape and Pictorial Art !



There follows an interesting and enlightening insight into life at the Yellow Door Art School, by a visitor recording the event:

















Frank Spenlove in the studio.

 "Students who are already finished artists, but who, feeling they have still more to learn - as the true artist always must return from time to time to the studio to put in some more hard work. They will probably produce numerous drawings, paintings, and sketches, and will bring them to receive Mr Spenlove-Spenlove's criticism and advice towards the latter part of the lesson, when the class has been well started and he has at last found a few free moments to spare.

 One of these, was a beautiful study, full of poetry and imagination, showed a pool with nymphs bathing by the light of the moon, with a wonderful effect of the light shining through trees into the glimpse of dark water.
Mr. Spenlove-Spenlove finds that this plan of having students at all stages of progress working together in a single class-room, is very helpful to beginners, for the advanced ones form a ladder leading them on and encouraging them to further efforts towards success.

 Many of the students, who are anxious to be able to introduce figures into their landscapes, work from draped figures and costumed models posed in the studio on one or two days a week. These models are chosen with a special view to their subsequent introduction into the students' landscape pictures. Dressed as Elves, fairies, milkmaids, herdsmen, woodcutters, and harvesters, they all visit the studio in turn."






The Spenlove Art School - Tuition Fees etc.


 "The school year is divided into three terms, or sessions, of twelve weeks each.

  The 'Spring lessons' beginning on the second Monday in January, the 'Summer session' on the third Monday in April, and the 'Autumn session' on the fourth Monday in September.

 Classes for general painting and drawing, both elementary and advanced, are held on three mornings a week from 10 till 1 o'clock, for which the fees are four guineas a session.

Pupils drawing or painting from the living model, either draped or in costume, pay half-a-guinea extra for the term.

  The fees for the special landscape painting classes and landscape demonstration classes in the studio, which are held on Tuesday, Thursday, and Friday mornings from 10.30 to 1pm., and during the afternoon from 2.30 till 5pm., are as follows:

Per session of twelve weeks or twenty-four lessons, two mornings or two afternoons a week, £11.11s.
For a course of twelve lessons, two mornings or two afternoons a week, £6. 6s.
For a half course of six lessons, one afternoon a week, £3. 13s. 6d.

 The fees for special private demonstration lessons at the studio on " The Art of Picture Making," lasting for about an hour, are £11 for a course of twelve lessons, and £6. 6s. for a half course of six lessons, while the fee for a single private demonstration lesson is £2. 2s.
Lessons in landscape painting are also given by correspondence, for which the fees for a course of twelve criticisms is £5.5s., and Mr. Spenlove-Spenlove also gives special private lessons at his London studio;

The Corner House, 69, Addison Road, Kensington" 









The Outdoor Sketching Lessons in Eynesford.







Frank Spenloves Painting class in the Darrent Valley, Kent

"Mr.Spenlove-Spenlove also holds a series of special outdoor art classes two days a week, during May, June and July. These are in the Darent Valley which is in the village of Eynsford, Kent, which, though only a few stations beyond Beckenham and but a half-hour journey from town, is one of the most picturesque spots imaginable.

It boasts, besides a charmingly picturesque stone bridge, a stream with overhanging willows, meadows and orchards, haystacks and picturesque barns galore, and a row of real old Queen Anne cottages.



 A picturesque cottage at the further end of the village, right out in the country, provides a pleasant rest house for students, and here simple meals can be obtained and easels and painting outfits stored. It is a very handy place of refuge in showery weather."





A Sketching Class;


 "The members of the Yellow Door sketching class meet at Victoria station soon after 11 o'clock, and on arrival at Eynsford, scatter throughout the village to spend the whole day studying out in the open.

  Each student picks out her own subject for a sketch, and sits down to paint it, while Mr. Spenlove-Spenlove strolls briskly from pupil to pupil to give each one a brief but most pertinent and illuminating lesson on the piece of work in hand before passing on to the next.

  The members of the class often range from finished artists, who are already successful exhibitors at the various picture shows of note, to young girls who are making their first tentative steps in the direction of landscape painting or sketching.

 Mr. Spenlove-Spenlove's keen interest and helpful enthusiasm over their work is the same for all, and the way in which he gives students confidence in their own powers and brings them on in their work is astonishing.

 Good lodgings are obtainable at Eynsford, and Mr. Spenlove-Spenlove's students often spend a month or two down there during the summer months, joining the outdoor classes two days a week, and working by themselves between whiles.

 The fees for the outdoor classes are £6. 6s. for twelve meetings, and £3.3. 6d. for six, and as the number of pupils joining each class is strictly limited, each one gets much individual attention."



Frank Spenlove the man





   A.C.R. Carter, in the 'Art Journal of June 1910, was not the first to note the influence on the young Frank Spenlove, exhibiting his 'Watchers' at the Royal Academy for the very first time.

He mentioned obvious similarities to the Dutch artist Isaac Israels. (Amsterdam 1865-1934 Den Hague) An artist that was Clearly an influence which continued throughout Frank's artistic life and as his fluidity and captivating atmospheric and dramatic style emerged.


 Frank would also be the first to tip his hat to the artistic ability of the great J. M. W. Turner, who he admired enormously and whose methods he applied and adopted personally.

One observer writing of Frank tells us;

 "Turner, again, always worked from the slightest of sketches and rough notes, and Mr. Spenlove-Spenlove thinks this undoubtedly the right method of procedure, and accordingly, in teaching landscape painting, his system is to encourage his pupils to make swift realistic studies from Nature out of doors, seizing some transitory exquisite effect, and afterwards to study the art of transforming these rough notes of a passing effect of the moment into a finished picture in the studio, both by means of individual instruction, which each one receives, on the working up of his or her own particular small sketch, and by means of his special landscape painting "demonstrations" before the assembled class."



Edward Biberman's Recollections of Frank:

 The American artist Edward Biberman (1904-86) in an interview back in 1977, recollects his meeting with Frank Spenlove Spenlove whilst he was in Cornwall holidaying. He had just painted a portrait of his daughter, which is sadly now lost.

 He said of 'Sir' Frank, who he thought was a knight of the realm, likely once again Franks sense of humour:


 "The English artist had a name which was fantastic. His name was Sir Frank Spenlove-Spenlove R.A.

Frank Spenlov looked like a Peter Arno cartoon.
He was very big, florid, [with a] great white moustache. And a charming man.

The painting of his daughter, incidentally — I don't know where it is, or what happened to it. Somewhere in my moving, that painting has been lost. It just disappeared and I have no sense of what happened to it?"
















 Frank Spenlove was also a Fellow of the Royal Geographical Society, elected in 1904;

A member of the Committee of the British art section - Liege International Exposition of 1906, where he was awarded the Diploma of Honour. And a member of the City of London Truss Society for the relief of the ruptured poor !

 We are told that recreationally Frank really loved billiards and regularly held evening sessions at his central London home. He also enjoyed golf and music too and was a very 'charitable' man. 

 Frank was acutely aware of the commercial practicalities of self promotion in his life and indeed sponsorship and leant his name to both the social good of smoking it would seem and to the medicinal benefits of Sanatogen, which he specified had cured all his ills:

In so doing, Frank lent his name to newspaper advertising around the world. Appearing as here in Pall Mall Magazine and regularly in the Commonwealth press.

This below is from the Sydney Morning Herald in 1912:


Mr. Frank Spenlove-Spenlove;

B.I., F.R.G.S., says; "after trying different so-called remedies I was advised to try Sanatogen.

It has worked wonders " in fact, quite overthrown the trouble."









Frank Spenlove and the Mystified RA's




Frank Spenlove-Spenlove Memberships and Affiliations

R.I, Royal Institute of Painters in Water Colours
R.C.A, Royal Cambrian Academy
R.O.I., Royal Institute of Oil Painters
R.B.A., Royal Society of British Artists
FRSA., Royal Society of Arts
FRGS., Royal Geographical Society

Membre de la Societe des Artistes Francais
Member of the New gallery Society of Artists
Member Royal Institute of Painters in Water Colours ( By Royal Sign - Manual )
Member Royal Institute of Oil Painters
Member Royal Society of British Artists ( By Royal Charter )
Member Royal Cambrian Academy
Member Japan Society
Member of Committee International Art Congress for the Development
of Drawing and Art Teaching 1909
Member of the Royal British Colonial Society of Artists
Fellow of the Royal Society of Arts
Fellow of the Royal Geographical Society






T h e    P a i n t i n g s

Not arranged in chronological order.

Frank Spenlove-Spenloves;

1890 Oil on canvas

Exhibited Paris Salon 1901

Awarded Gold Medal and purchased by the French Government for the Musée du Luxemboug.
H. 107, l. 182






Frank  Spenlove - Spenlove



 Frank Spenlove was nominated for Associate membership to the RA first in 1909. Backed by Frederick Pomeroy, Derwent Wood, Charles Napier Hemy, Arthur Hacker, Andrew Gow, Luke Fildes and William Frederick Yeames.

On the second occasion in 1920, his nomination was supported by artists Frank Dicksee, Frank Short, Henry Scott Tuke, Reginald Blomfield and David Murray. Sadly, that nomination did not carry sufficient support for Frank to be considered for inclusion.

The then President of the RA was an architect called Sir Aston Webb.
That year saw two architects elected as Royal Academicians; Francis Derwent Wood, an architectural sculptor and Edwin Lutyens.



 For the RA nominee, once he has achieved securing Academicians as supporters, the wait begins and politics takes over. It ends with a meeting of all the Royal Academicians casting their votes in camera for the proposed candidates.


The Latin inscription on the front of the RA ballot box reads; ‘Detur Digniori,’

Translated it means;
“Let it be given to the more worthy”.


For Frank, the Academy, by his exclusion, had driven home the worst kind of insult and the row which followed with Aston Webb must have sent ominous rumbles through the building if not the Academy itself.
Clearly Spenlove would have felt rightfully embittered and disappointed. Frank would never again exhibit at the RA.


 What he previously had exhibited at the Royal Academy over the preceding 33 years was and is a genuine testimony to his genius as an artist.

In time we hope with this project, to be able to secure imagery for all the titles Frank Spenlove Spenlove created. This list grows daily and with your help, will continue to do so: However many were lost in the Blitz and many more have vanished into the mists of time.







Frank  Spenlove - Spenlove


^ Vespers, New Year's Eve in the Low Country

Exh. RA. 1905

Oil on canvas, 105.4 x 151.1 cm 6' x 4'

Exhibited: New Gallery, Liverpool Walker Art Gallery, Pittsburgh Carnegie Institute, Pittsburgh International Exhibition 1907 and Glasgow Institute 1906

Collection: Glasgow Museums.

Purchased for the permanent collection in 1906


"Unto This Last" -

Oil on canvas

Alt: Le dernier voyage - interremont du une pilote.

Alt: The pilots funeral - Southwold, Winter

Exh. RA 1903 72 x 48"

Exh. Paris Salon 1906

Illustrated in The Sketch 1906

^ Too Late - 1904

Oil on Canvas

Musee d'Orsay Paris

Exh. RA 1904

“Too Late “ was taken to Pittsburgh by the evangelist, the Rev. W R Wedderspoon as the subject of his famous sermon preached to over 10,000 people August 23rd at the Great Auditorium of Ocean Grove, New Jersey in 1909.



#229 Royal Academy of Arts exhibition 1910.

Oil on Canvas

A second painting of the same subject with several figures existed.

Franks own records and images confirm same. This image is to follow.





^ The Little White Cross  Exh RA
Date painted: 1902
Oil on canvas, 91.5 x 60.9 cm
Collection: Manchester City Galleries

Purchased from the artist 1904



1914~At the Call of Dawn -A peasants funeral in

the high Alps # 141

48 x 72"


1899~ Gold, green and grey.

Picardy poplars -Autumn #389


As yet, an incomplete list of works exhibited

by Frank Spenlove at the Royal Academy Summer Exhibitions over 33 years.


1887~ The Home of the Heron - Early morning


1887~ In the Stack #742


1888~ The Farmers Daughter #849

1889~ Silver Morn #225

1889~ In the Evening, it shall be light # 493

Artists title: At eventide it shall be light

There were two successive paintings with this title. The first torn in the studio and repainted by the artist. See Biography.

1889~ In the low country -early evening #804

1889~ L'etude #841

1889~ Eventide after rain #921

1889~ A Grey Morning #963

1889~ The wane of the year #1242

1890~ Waiting for father # 1054

1891~ Drear November #60

1891~ Her Love had gone a sailing #810

Described by the London Daily News London, England 7 Jul. 1891 as "very agreeable in its greens and greys; and a bright and cleverly composed little bit of seaside idyll."

11 x 17 Water colour heightened in white

1891~ Unto the last #1069

1892~ Ladies of the lake #1148

Exh York Summer Exh 1899

1893~ A Flemish landscape #346

1894~ After summer days #240

( Also Exh.Tasmanian International Exhibition )

1895~ O'er land and loch #763

1896~ A rest by the way #997

1897~ Homeward #579

1897~ April #834

1897~ Dawn of night.

…”Till the moon,
Rising in clouded majesty, at length,
Apparent Queen, unveiled her peerless light,
And o’er the dark, her silvery mantle threw.”

Milton Paradise Lost

Described by the Graphic London, England
8 May 1897 as "ambitious , a work of extremely accomplished youth

1898~ Avenues of gold. A Picardy pastoral #117

National Gallery Adelade

1899~ Gold, green and grey. Picardy poplars -Autumn #389

1899~ Storm-rivven, so rugged and wild #551

1899~ Return of the flock, November #727

1899~ Near Alkmaar Holland #752

1899~ A lowland shepheardess - morning. #953





1900~ The hurrying storm; on the Maas, Holland #145

1900~ A winters tale; Funeral blessings Holland


#198 RSA

1900~ Nights awakening #644

1900~ Mending nets, Cantyre NB #750

1901~ Spring #672

1901~ Gilded pastures, an autumn day, Picardy


1901~ Dunwich Common, Suffolk. #886

1902~ The Homestead #206

1902~ Over the valley #224

1902~ By the loch, a summer day on the Berkshire canal #473

1903~ Unto This Last; the pilots funeral; Southwold, winter #742

1904~ Willow witches. Evening effect after the rain #93

1904~ Too Late #356

1904 ~ Darsham Vale - autumn. "Clouds that follow the storm"#885

1907~ Morning - A study in Spain #713

1907~ And the Winter shall come #155

|Lord Winterstokes Collection

1904~ Darsham Vale - Autumn. " Clouds that follow the storm" #885

1910~ BLUE AND GOLD: the dunes of Flanders






1911~ BLUE MISTS, Andalusia


1914~At the Call of Dawn -A peasants funeral in

the high Alps # 141

1915~ A Message of Spring


1918~ Fog, Murk and Grime
November on the work o'day Thames


1918~ For those in Peril

On the coast of Flanders.


The Little Prayer ( Salon) ?

Le Dernier Voyage

Hotel de Ville Paris

As the leaves fall 1907

Paris Municipal Council

Autumn Afternoon - The three nuns 1922


^ The Light at the Door, a January Night in Flanders (No.96)
Frank Spenlove-Spenlove. Painted: 1907 Exh RA.

Exh Bristol April 1908
Oil on canvas, 91 x 71 cm
Collection: Rochdale Arts & Heritage Service



^ 'And the Winter Shall Come' RA 1907 #155
Frank Spenlove-Spenlove
Date: 1907
Oil on canvas, 104.2 x 180.2 cm
Collection: Bristol Museums, Galleries & Archives







1899~ Storm-rivven, so rugged and wild #551

^ In the Shadow of the Church, Dordrecht, Holland
Exh RA and New galleries 1903

Painted: 1903
Oil on canvas, 101.5 x 106.8 cm
Collection: Manchester City Galleries


^Exh RA. Grey of Evening
by Frank Spenlove-Spenlove
Oil on canvas, 70 x 90 cm
Collection: Ferens Art Gallery


^ The Church Porch:

"The world forgetting, by the world forgot"

Oil on canvas

Franco British Exhibition

Paris Salon (Sellosse Collection)




Woman and child in the snow.

Private Collection UK

Provenance: by descent from the artist


Figures gathering outside a church

Private Collection UK

Provenance: by descent from the artist


The three nuns

Autumn Afternoon -

1922 RA

Oil on Canvas

Prov. Family


^ The Green Shutters, Viaticum, Belgium  Exh RA

Frank Spenlove-Spenlove 1910 Oil on Canvas

Collection Laing Art Gallery

Illustrated in The Illustrated London News 1918







Latest inclusion in this catalogue. Dated 1908

Oil on Reeves and Son Canvas 20 x 23"

Signed and dated bottom right

Frank Spenlove-Spenlove  08

A River Landscape, probably Belgium


^ Children Of The Ghetto - Venice - 210x120 - Oil


Frank Spenlove : Signature 1898

Frank Spenlove : Signature 1898^

^ When Autumn Leaves Have Turned to Gold -Belgium - Frank Spenlove-Spenlove

Date painted: 1927
Oil on canvas, 33 x 39.5 cm

Collection: The Mercer Art Gallery, Harrogate


Quite Moments - A Bruges Study

Watercolour, signed 'Frank Spenlove Spenlove' and dated '1914' lower centre

Also inscribed on Royal Institute of Painters in Watercolours label verso,

with the title and artist's address, 29.5 x 45 cm

^ The White Silence, Belgium
by Frank Spenlove-Spenlove: Signed and dated 'Spenlove'
Date painted: 1925. Oil on canvas, 49.5 x 59.5 cm
Collection: Dudley Museums Service


^ Belgium, the Lowly Bow to Share a Nation's Woe
by Frank Spenlove-Spenlove

Painted: 1915
Oil on canvas, 73.2 x 122.7 cm
Collection of: The Stirling Smith Art Gallery & Museum


The Shepherdess Frank Spenlove

^ The Shepherdess

Frank Spenlove-Spenlove, RCA, RBA, RI, ROI

(British, 1868-1933) signed lower right "Frank Spenlove-Spenlove '02" oil on board. Provenance: From an Essex country house. Exhibited: The Calton Gallery, Edinburgh.


Frank Spenlove : Signature

^ Frank Spenlove : Signature 1902^



^ 'Quai Vert' Bruges, Belgium
Frank Spenlove. Oil on canvas, 89 x 74 cm
Collection: Ferens Art Gallery


"Quai Vert, Bruges, Belgium",

Signed, oil on canvas, 24 x 34.5cm.; 9.5 x 13.5in.

Frank Spenlove-Spenlove (1868-1933)

^ Weary Ends the day 1924

Alt:The End of a Weary Day

Painted by Frank Spenlove-Spenlove
Oil on canvas, 72 x 183 cm

(Purchased originally by Lord Weymss)
Collection: Stockport Heritage Services.


^ When Summer Leaf Is Changed to Gold, Belgium
by Frank Spenlove-Spenlove

Date painted: 1925
Oil on canvas, 91.5 x 138 cm


^ Evening Glow
Frank Spenlove-Spenlove

Oil on Millboard, 30 x 45 cm
Collection: Museums Sheffield


^ Sheep on a Hillside

12 x 16 " Oil on Canvas





Study of cows black crayon and chalk on grey paper


11.5 x 17.5



Two workings of the same scene:

Private Collection UK

Provenance: by descent from the artist


^ First boats of the morning - Hoorn Holland

Watercolour heightened with white and bodycolour.

Signed, inscribed and dated 1901 30 x 45 cm

, bears "Henry Hargreaves & Co. Ltd., Pall Mall, London" label verso

Cloud study 1922


Unfinished watercolour.

^ Mountain scenery with two girls sunbathing

Attrib: Frank Spenlove-Spenlove

Oil on Canvas 50 x 76cm

Venice Oil


Untitled Private Collection UK

Provenance: By descent from the artist


^ Harvesting 1887


19 x 29" signed and dated


^ Windmill and cattle

Oil on panel

Signed 12.50 x 21.50cm (4.92 x 8.46 inches)


Signed and dated 04, oil on canvas, 25.5 x 46cm.


^ Paisaje

Oil on Canvas 35.6 x 50.9 14" x 20"

Signed F Spenlove


^ The old boathouse

Oil on canvas laid on board
25 x 35,5 cm (9,8 x 14 in)

^ Still life with yellow bowl and red candlestick
Medium: oil on canvas
60 x 70 cm (23,6 x 27,6 in)

^ In Harbour

Medium: oil on canvas
26 x 46 cm (10,2 x 18,1 in)

Signed and dated 89

^ Twilight, 1900
Medium: oil on canvas
60 x 91 cm (23,6 x 35,8 in)

^ Winter in Pangbourne, Berks 1929

Medium: Oil on canvas signed

41,2 x 51,1 cm (16,2 x 20,1 in)


^ Dutch barges on a canal, 1901

Watercolor and bodycolor
24,1 x 45 cm (9,5 x 17,7 in)

^ Fishermen in rowing boat casting nets

Medium: oil on canvas laid on canvas
30,5 x 41 cm (12 x 16,1 in)

^ Bosham, Sussex

Medium: Pencil and Watercolor
11,5 x 25,2 cm (4,5 x 9,9 in)
Signed and inscribed



^ Solitude

Frank Spenlove-Spenlove (British 1864-1933)

Signed, watercolour. 29x44cm


^ Frank Spenlove Spenlove signature

Solitude 2

^ Dust Road 1895
11.00 in. (27.94 cm.) (height) by 17.00 in. (43.18 cm.) (width)
s.d.95 W/Colour

Frank Spenlove Spenlove - A River Landscape

^ Teatime

Medium: Oil on Canvas
Size: 54 x 44.5 cm. (21.3 x 17.5 in.)
Franck Spenlove-Spenlove

^ The fishing fleet, St. Ives

Medium: Oil on Panel\
26 x 34 cm (10,2 x 13,4 in)

Frank Spenlove Spenlove

(View of the Harbour and Town from an Elevated Position)

Artist's name and title. Léon Suddaby Fine Art Gallery label verso


Oil Painting
Size: 48.5 x 58.5 cm. (19.1 x 23 in.)

^ A beach scene, Holland 1924

Oil on Canvas
30 x 40 cm (11,8 x 15,7 in)

Soth Billingshurst  96

Wharf on the Thames

Oil on Canvas

Weary Ends the Day 1920
Watercolour 900 x 595mm (sight size) 24-
Collection of the Dunedin Public Art Gallery



^The Light at the Door, a January Night in Flanders, 1907.

Oil on canvas, 91 x 71 cm.
Signed Frank Spenlove-Spenlove


Oil on Canvas
Size: 153 x 102 cm. (60.2 x 40.2 in.)


Medium: Oil on Plywood
12 x 21,5 cm (4,7 x 8,5 in)

A village situated on a small island at the southern entrance

to the Lagoon of Venice, Italy.

^ Venice

- Oil on panel 8. 5 x 5in
Signed 'Frank Spenlove-Spenlove' (lower right)

^ Venetian canal. Oil on board,
20 x 11.5cm

Signed bottom left

Missatributed oil not in Spenlove's style or manner but

bearing the same surname. The signature by comparison

is totally different to that of Frank Spenlove

Signature bottom left of Venetian painting^

Signature Frank Spenlove-Spenlove

^ Signature of Frank Spenlove-Spenlove

The Steps Chioggia

Oil on panel

Exhibited: Leeds Art Gallery Spring Exhibition 1900


Study of gondolas - Venice
Pen and ink and wash


Picardy Study



A figure in a snowy street
Oil on Canvas

51 x 61 cm (20 x 24 in)


Oil on Canvas
Size: 25.5 x 36 cm. (10 x 14.2 in.)


Size: 37 x 52 cm. (14.6 x 20.5 in.)

^Version #1- Arab street scene in Tunis 1904

Outside The Mosque Tunis - Tunisia, North Africa

Oil on Canvas


^ Version 2 - Arab street scene 1904

Outside The Mosque Tunis, Tunisia - North Africa

Oil on Canvas

^The Garden of Allah
Oil on canvas,

Signed and dated 1901, 35 x 46 cm


1904 There is an Antique Art Print' called;

Outside The Mosque Tunis Tunisia North Africa

A book plate exists after Frank Spenlove-Spenlove.

Retrieved from the 1904 edition of The Magazine Of Art.

The print / book illustration shows a group of Arab men sitting on a

wall under the shade of an olive tree.

Presumably based upon one of the above works in oil.



Kismet. Oil on board. Label verso with biography of the artist and stating that the work was sold as a souvenir gift at a luncheon in aid of the Three Arts Employment Fund at the Savoy Hotel, July 6th 1915



Figures before the Green Door - North Africa



Study of an Arab 03

Pen and Ink

^ Study North Africa Dated and inscribed 2.04.03

Pen and ink

Scottish studies made in 'Skye' 1887

watercolours  Inscr. Initialled and dated



In the shadow of the church. The Groot Hoofd Dordrecht

September 12. 1902

Pen and ink wash. Study for a major oil painting he was considering

^ Still Life with candle stick

Oil on Canvas


^ Hayricks

Oil on canvas


^ Grey day on the Sheldt.

Oil on Canvas



^ Copse of silver birches

Oil on Canvas

House by a river.

Oil on board

6.00 in. (15.24 cm.) (height) by 9.00 in. (22.86 cm.) (width)

signed, l.r.


Lady along rail on breezy afternoon

Oil on panel

6.50 in. (16.51 cm.) (height) by 10.00 in. (25.40 cm.) (width)
signed, l.l.

^ 'The interiors of Rheims Cathedral'

Oil on canvas, signed, 41cm x 30.5cm
Frank Spenlove Spenlove



'The Ferry'

Oil on canvas, signed, 29in x 40in

The evening after the rain.

Landscape with figure 1889
24,8 х 35.4, oil on wood


The Bathers 1890

Oil on panel

6 3/8 x 9" Signed and dated LL

Silver birches in the autumn

Signed lower left 14 1/2" x 10 1/4"



"Stream in am Mountain landscape

Oil on canvas. Signed and marked lower left. 59 1/2" x 39 1/2".
One of Frank Spenlove’s largest paintings.

'Study of a Tree in Woodland', Watercolour.


Figures look out to a stormy sea
Watercolour, signed and dated 1919

49cm x 75cm

Frank Spenlove Spenlove - A Winter Canal Scene, with Figures and Barges

Mixed Media, Signed, 4.75" x 8.25".



Frank Spenlove-Spenlove, watercolour
"Grey Day on the Scheldt Belgium"
S igned and dated 1922. 10" x 14"



'The Red Mill, Holland watercolour

Signed and dated 01, 24.3x45cm

Fous lakeland landscape with figures

Signed verso, 11x19.7cm


A view of "Ronda, Spain"
Oil on canvas,
11. 75in x 17.5in

Still life of roses

Signed with initials and dated '97' (lower left)

Oil on board 25 x 18cm (9 13/16 x 7 1/16in)


'Study of a Birch Tree in Woodland'
Watercolour, 34cm x 24cm


2 Sketchbook watercolours Holland


Bruges sketchbook / 20.9.06

Frank Spenlove SPENLOVE Oil on panel
Waterfowl by a footbridge Inscribed verso
6.5” x 10.5” (16.5cm x 26.7cm)

The Restless Sea, `L`Etude`

A study of crashing waves with seagulls floating on the breeze.
Signed and dated 1915, watercolour. With hand written label verso.
37cm x 51cm.

Spenlove (1866-1933)

A rocky coastal scene signed oil on board 25 x 33.5cms; 10 x 13 1/4in.


Attrib; Frank Spenlove, 1864-1933)

Haymaking, oil on panel, unsigned, 15 x 33cm (6 x 8.75ins)

Attrib: Frank Spenlove Spenlove:

Habourside, oil on panel, unsigned, 13 x 22cm (5 x 8.75ins)



Frank Spenlove- Spenlove Attrib:
Boats moored in an estuary at dusk.

Watercolour on paper laid onto card, 172 x 266

A 'questionable' Spenlove Oil on panel

14 x 22cms

Bears an old auction lot no 178 and sale date: 5/6/79

Winter morning  (Téli reggel)

Probably Bruges c. 1914

48,5 x 60,5 cm
Image courtesy of Kieselbach Galéria

We are grateful to Laszlo Grof for bringing this image to our attention

Study of Zeebrugge Dunes

Oil on panel 15 x 22"

Exhibited Royal Institute of Painters after 1917 when the Yellow Door school was registered at Victoria St>

Though the work is signed and dated 1911?










List of known Frank Spenlove works  with no illustration yet discovered.

Nos . 94



This is an ongoing catalogue project:

Please contact us if you own or know of a painting by

Frank Spenlove-Spenlove that is not included in this catalogue.




Golden Grain 1884.
66 th EXHIBITION Royal Institute of Painters in Water Colours
Spenlove, F. 51, Beckenham Lane, Shortlands. 404, 1033.


Forbidden Fruit 1884

66 th EXHIBITION Royal Institute of Painters in Water Colours



The Portal, Belgium c.1923

Royal Collection
Reference RL 27389
Orange building with large porch, figures in front, autumn trees around. Signed with initials at lr.

Commissioned for the Library in Queen Mary’s Dolls’ House.


BLUE AND GOLD: the dunes of- Flanders

Exh: #91 Royal Academy of Arts exhibition 1910.

Oil on Canvas



Oil on Canvas



BLUE MISTS, Andalusia

Oil on Canvas



A Message of Spring

Oil on Canvas


1915 - War Relief Exhibition in aid of the Red Cross and St. John Ambulance Society.


Fog, Murk and Grime. November on the work o'day Thames

Oil on Canvas


1918 - War and Peace Exhibition.


For those in Peril. On the coast of Flanders.


1918 - War and Peace Exhibition.


Rocky cove with fisherman's cottage
Medium: Oil on Canvas
Size: 39 x 60 cm. (15.4 x 23.6 in.)


Figure herding sheep into a barn -

Oil on Canvas

Size: 35.6 x 74.9 cm. (14 x 29.5 in.)

A port at twilight - Oil on Canvas


Les bords de la Tamise à Cheyne-Walu - Oil on Canvas

An autumn afternoon 1887 - Oil on Canvas


Quiet Moments
Water colour 27.94 x 47.92

Morning, a pastoral. Signed and dated

Richmond Bridge

Medium: Oil on Panel
Size: 18 x 26 cm. (7.1 x 10.2 in.)

Landscape with cows grazing

Oil on Canvas
Size: 34.3 x 40.6 cm. (13.5 x 16 in.)

Oil on Canvas1
152.4 x 101.6 cm

Figures in a stormy landscape

Watercolour 48.26 x 58.42 cm

Figures on a quayside
Oil on Canvas
22.86 x 43.18 cm signed, dated, inscribed

Portrait of young boy wearing white costume, half length
Oil on Canvas
50.8 x 33.02 cm

The farm road to Picardy
Oil on Canvas
50.8 x 60.96 cm


Her love had gone a sailing 1891
27 x 43 cm watercolour heightened with white signed.

"very agree- able in its greens and greys; and a bright and cleverly composed little bit of seaside idyll."
London Daily News London, England
7 Jul 1891

The Thames near Maidenhead
Frank Spenlove Oil on Canvas

51 x 76 cm (20,1 x 29,9 in)


The water meadow

Christie's sale: June 5, 1914. #395


The Grey Farm 1908

Exh Manchester

1908 New Gallery

(Rothschild Collection Paris)


Chant of the golden hour 1897 ?

Water Colour RBA Exh.

Sorrow: 1908

Exh Aberdeen Artists Soc

The Gondoliers ( A Venetian Story) 1901

Exh Aberdeen Artists Society


The Haven under the Rill (Coast of Kintyre) 1898



Murk of the morning 1900

RBA Exhibition

A Hillside Pasture 1908

Exh Manchester


Grey Dawn (Old Cordoba Spain) 1908

Exh Manchester July 1908

Within - 1907

Exh Bristol 1907

Without - A winters tale

Exh 1909 Manchester #78

Flowers in the fields of Arran NB 1898

Acq Bristol Fine arts academy 1899


RBA Exhibition 1899

Vestibule of numerous miniature piuctures of British and Continental scenery


When skies are blue and winds are fair 1906

Exh Feb 1907

Southport art gallery


The Lone Mill 1909

Exh Aberdeen 1909


Seville Orange Grove 1902

Exh New Gallery


A Soliloquy of Night 1899


The morning post described it so: "The landscape is olive- black near at hand, and of a dark blue in the distance."


Love's Herald of Spring 1898

Mentioned in Lloyd's Weekly Newspaper London, England
27 Mar 1898

RBA 1898

"brings delicately before us the orchard, with its white blossoms, and, above it, the luminous..."London Evening Standard London, England
28 Mar 1898

Lost Blessings 1894


Gathering pilgrims paying homage and devotiions at a shrine.

London Daily News London, England 2 Apr 1894

Landscape with figures and sheep
20 x 30

Bukowski Stockholm 97


Whispering Daylight

Shown at the Royal Society of British Artists,

Has been bought at a handsome price by Mr. Read, a Glasgow art collector .
Arts & Crafts Magazine Vol. 1-2, 1904


Les derniers reflets.

L'Exposition internationale de Bruxelles. Beaux-arts 1897 # 142.

Light of the West

Listed in "Modern and Pictorial Art" ( Its teachings and philosophy)


The pool and idyl
Selected for purchase by France - Selosse Collection. Le musée de Roubaix


Watercolour on paper mounted on card (Roberson's Aquarelle Tablet), depicting a river landscape with castle on the horizon, 183 x 270mm (7.2 x 10.6ins) Sold at Dominic Winter Auctions 06 Oct 2016. NO Image



Fishermen's Wives, Belgian Coast

Signed and dated 1915, bears a typed label on the backboard

Watercolour heightened with white and gum Arabic 37 x 51cm



Signed with initials and inscribed "sketch Alkmaar" (Holland)

Watercolour 35,5 by 25cm




Clovelly Harbour from the east
Watercolour 6.75in x 9.75in. Signed.


A Sunny Afternoon

Signed "Frank Spenlove Spenlove" lower center

Oil on canvas
12 x 16 1/4 in. (30.5 x 41.2 cm.)

Study of tree, 1920
Watercolour, gouache 21x15 inches (54x38 cm)

Signed & dated

"Sundown On The Conway"

Signed.75x50 oil on canvas


Village square with figures

Signed, oil on board, 12.5 x 20.5cm


Still life with bowl of flowers.

Oil on canvas, 20in x 24in, inscribed verso


Mountainous lakeland landscape with figure

Signed verso, 11x19.7cm


Heathland, Landscape with Birch Trees.

Signed 'Frank Spenlove-Spenlove';

Watercolour, 10 x 7ins 25.4 x 17. 8cm


The Groote, Diest, Belgium, 1909

Oil/panel 9x5 inches (22x13 cm) signed & dated 18.9.-09.


'Morning', a female goatherd, in an extensive landscape

Signed and dated '99

Bears Royal Institute label verso.

30 x 50ins. Oil Painting


A Rocky Cove with Fisherman's Cottage

Oil on canvas; signed lower right

15.5in x 23.5in - 39 x 60cm.

Waterfall in heathland
Signed, 12 x 18 ins. Oil on canvas,


A river landscape with a Windmill and farm- buildings

Signed and dated, 'Frank Spenlove-Spenlove '01'

Watercolour heightened with white, 9.5 x 17.5in

Coastal meadow
Medium: Oil on Panel 13 x 21,6 cm (5,1 x 8,5 in)


L’etude, cattle grazing
40.64 x 60.96 cm

The Upland Road 1908
Oil on Canvas
121.92 x 185.42 cm
Exhibited Liverpool


Rural landscape with cattle grazing under cloudy summer sky
Oil on Canvas
50.8 x 60.96 cm

Oil on Panel
Size:30 x 45 cm. (11.8 x 17.7 in.)


Inscribed on the reverse 'Daylight/a study/Miss Emmie Marlin/

with all kind wishes on the 18th July 1905 from Frank Spenlove Spenlove'

Oil on board
5 x 8½in. (12.7 x 21.5cm.)


The Shepherdess

Signed and dated lower right Frank Spenlove-Spenlove 02
Oil on panel
8 1/2 x 5in. (21.5 x 12.7cm)
Exhibited London, Royal Society of British Artists, 1908

Sunlight and Shadow

Newmarket Art Gallery


The garden of Allah

Dunedin New Zealand art gallery


Corner House - Malines ( Holland) 1921

Alt: The Corner House ( A bit of old Holland)

Bristol Corporation


Old Belgium

Royal Collection


Falling Leaves -Belgium


Windsor Meadows

Royal Collection


As they watch by the shore - Belgian Fishwives

Fishermens Wives


Doncaster Art gallery


Bright and breezy Suffolk day 1897

Alt: Suffolk Common

Royal Soc British Artists


Suffolk Common Morning 1897

Exh Royal Soc Brit Artists


Avenues cold 1897

Exh feb 1898 Leeds Art Exhibition #538

A winter study 1893 or 4


Exh Water colour society of Ireland March 1894

Underhill 1907

Discussed in Yorkshire post 12.02.08

Spring Blossoms 1900

Exh Worcester Victoria Institute Sept.1900

On the north Holland canal 1898


The daylight dies 1899

Exh Bristol November


The Passing Storm: Scheveningen 1895

RBA Exh.

A spacious sea-coast picture

On the Sands at Scheveningen 1893

RBA Exh (224)

Summer Clouds 1893



An Autumn Harmony 1893

3 works:

RBA 1893

Morning Post London, England 24 Mar 1893
"Three pretty landscapes may be noted by Mr. F. Spenlove,

Evening grey - Landscape with trees

Watercolour 1931

Height: 14.8215 in, Width: 21.0625 in
Collection V&A

The Twilight Hour 1927

Exhibitied at the Royal British Colonial Society of Artists Adelaide

" A fascinating scene in a Berkshire Lane"

'The News Adelaide 27.10.27


The Lone Mill— Moonlight on the Belgian Sand Dunes


Galleries of the Art Association, Montreal, from Nov. 9th to Dec. 4th, 1909

The Alcantara, Toledo, by Moonlight

Mentioned in (6. The art treasures of London.
T (13) 1964 i"66).

At Autumns Close
Pall mall Magazine 1907

An Upland - an Autumn study 1907

RBA Exh 1906


‘As they watch on the shores – Fisherwives, Belgium

Gouache displayed at the annual summer exhibition at Doncaster Museum in 1921
The work was acquired in 1921 as a gift from the artist.

As leaves fall

( Purchased by Paris Municipal Council – 1909 )



Clubs: Arts, London Sketching Club, United Arts, Chelsea Arts


Frank Spenlove-Spenlove exhibited many of his fine works of art in his career including at the following venues;


Paris Salon 1901 - 6  ~ Gold medal winner- Medaille de troisiemme classe.
79 at the RA: Royal Academy
144 at the RBA: Which until 1887 was the Society of British Artists, latterly becoming the Royal Society of British Artists - Suffolk Street. Founded in 1823 primarily for the annual exhibition and sale of the works of living artists of the United Kingdom
106 RI. Royal Institute of Painters in Water Colours, originally known as the New Watercolour Society and
afterwards, the Royal Institution
91 ROI. Royal Institute of Oil Painters. The only major art society which featured work done in oil.
42 RCA, Royal Cambrian Society.
[Constituted in 1881, the Royal Cambrian Academy was and still is a centre for artistic excellence in Wales]
38 Walker Art Gallery Liverpool.
21 Glasgow Institute of Fine Arts.
18 Manchester City Art Gallery.
18 New Gallery London between 1888 –1910.
9 Royal Society of Artists, Birmingham.
8 at the NWCS: The New Society of Painters in Miniature and Watercolours.
5 RHA Royal Hibernian Academy.
2 Goupil Gallery London.
2 Walker Gallery London.
1 International Society.
Aberdeen art society
Leeds Art Gallery

Royal British Colonial Society of Artists

British Pavillion, Venice Exhibition 1910 ~ 1914 ~ 1922

British art consultants






British Watercolour Artists up to 1920. H.L. Mallalieu
Dictionary of Victorian Painters. Christopher Wood
Art Journal 1849 – 1912 - 1895 (159) 1901 (191) 1904 (196) 1905 (300 – 385) 1906 (269) 1907 (186)
Studio (See Indexes Volumes 27, 29, 41, 43, 63, 66.
Connoisseur 42 (1915) 59f, 91. 1933, 409.
Art News 31 (1932/3) No36 Pg 8
Who’s Who 1924
Benezet 1976, V9-742
New International Encyclopedia (1st ed.). New York: Dodd, Mead.
Thieme-Becker: Allgemeines Lexikon der bildenden Künstler

© David Freeman: 2015



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Frank Spenlove-Spenlove RA.

Complete works of art.
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