John William Godward

Sale: Christie's, New York, February 25, 1983, lot 232, illustrated
Kenneth Lux Gallery, New York
Private Collection (acquired from the above, and sold, Sotheby's, New York, November 4, 2010, lot 57, illustrated)
Acquired at the above sale

Vern Swanson, John William Godward, the Eclipse of Classicism, Woodbridge, Suffolk, 1997, p. 198, no. 1899.2, illustrated p. 158, pl. 130

The following condition report was kindly provided by Simon Parkes Art Conservation, Inc.: This work has been restored. The canvas is lined with an easily reversible wax as an adhesive. There is a line of retouches which runs horizontally through the apex of the altar. This seems to correspond to a slightly heavier grain in the canvas. There may be a few small retouches around the right forearm and hand and a dot or two of retouching in the red dress. There are some slightly discolored spots in the wall beneath the grape arbor that seem to be original paint but could be old retouches. Ideally the work would be cleaned and the lining reversed, which would make a huge difference, but the work can be hung in its current condition.
"This lot is offered for sale subject to Sotheby's Conditions of Business, which are available on request and printed in Sotheby's sale catalogues. The independent reports contained in this document are provided for prospective bidders' information only and without warranty by Sotheby's or the Seller."

By 1899, when the present work was painted, Godward had firmly established his reputation and been exhibiting at the Royal Academy for over a decade. This particular composition displays many of the hallmarks of the aesthetics of Sir Lawrence Alma-Tadema and the Victorian interest in the revival of classicism and ancient Rome, prevalent at the beginning of the twentieth century, which promoted the importance of formal and sensual qualities over visual narrative. Godward’s vision of the Antique age was of a golden utopia, a world of marble terraces by the ocean where the sun is warm enough to persuade his earthly goddesses to eschew labor while surrounded by flowers and sunlight.

Despite changes in taste and fashion brought on by the fin-de-siècle’s turn towards modernism, Godward maintained his commitment to classical subjects and love of antiquity through the end of his career, fascinated by excavations in Pompeii and other archeological sites which fueled his imagination. In The Bouquet, he has included a bronze herm in the background, clearly inscribed Genio L nostri Felix, referencing a statue that was excavated in Pompeii from the Casa di Cecilio Giocondo, excavated between 1844 and 1875 and now in the Naples Archeological Museum.

Characteristically, Godward takes every opportunity to exhibit his technical virtuosity in the present work. The composition is framed by strong vertical and horizontal lines and a shallow depth of field, softened by the dappled sunlight shining through a pergola which supports carefully rendered vines.  His model stands in contemplation and gently lays fresh flowers on a marble table whose base takes the form of a crouching sphynx. A master colorist, the palette of rich hues is typical of Godward but particularly strong in the present work: the model is dressed in a burnt-russet colored stola (the feminine form of the ancient Roman toga), drawn tightly at the waist with a palla (Roman shawl) of a pale teal color, and tied with a brilliant yellow ribbon. The exquisitely tiled floor, lifelike tiger pelt, and brilliant poppies all contribute to this meticulously crafted scene.