Arthur Melville 1855-1904

J. P. Heseltine, by 1881;
Christie's, 27 May 1935, lot 68;
London, Fine Art Society, 1978;
Sotheby's, Gleneagles, 2 September 1998, lot 1451;
Private collection

Edinburgh, Royal Scottish Academy, 1881, no. 488;
Whitechapel, St. Jude's Exhibition, 1884, no. 78;
Munich, Exposition Annuelle des Beax-Arts, 1891

A. E. McKay, Arthur Melville, 1951, p. 144, no. 291;
Iain Gale, Arthur Melville, 1996, illus. pl. 9 

STRUCTURE This picture is relined and in good condition with strong colours throughout. There is some craquelure present, particularly apparent on the man's coat but the paint surface appears to be stable throughout. UNDER ULTRAVIOLET LIGHT There are very minor flecked retouchings in the upper right area of sky and minor retouchings to the man's coat. These have been well executed are are not visible to the naked eye. FRAME This picture is contained in a wooden gilt frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Shepherd (also known as The Normandy Shepherd) was painted during the most fertile period for the Glasgow Boys when Melville's art was much influenced by the work of the French artist Jules Bastien Lepage. The picture was described by McKay as 'a tall born-cloaked figure standing against a low toned background with sheep and trees seen against a luminous sky.' (A. E. McKay, Arthur Melville, 1951, p. 24). The Shepherd was painted at Grez in Normandy, a place of artistic pilgrimage for many artists of the 1880s. Melville had studied in Paris and when his studies came to an end he sought a place in which he could paint. In 1878 he moved to Fontainebleau; '... a painter's paradise since the days of Delacroix who had constantly gone there to make studies.' (ibid McKay, p. 22) Although Melville was attracted to the landscape of Fontainebleau and the history of artistic activity there, the focus of many French and British artists had moved to Barbizon and Grez and Melville decided to follow their lead. Robert Louis Stevenson, who Melville met and be-friended at Grez in 1878 described the village as; '... a merry pretty place after its kind, pretty to see, pretty to inhabit.' (ibid McKay, p. 23) Grez lies twenty miles from Barbizon and was a charmingly unspoilt village with its ruined castle and ancient church in the loop of the river Loing. Melville stayed at the Pension Chevillon, a hotel popular with artists as it had a beautiful garden sloping down to the banks of the river; 'Grez with its graceful bridge, its poplars, willows, water-lilied pools and meadows delighted Arthur Melville... in the country round about, Melville was working happily from dawn to sunset, and he continued to do so for more than a year. In the winter he must have had the place almost to himself, but he was too absorbed in developing his technique to feel lonely' (ibid McKay p. 23) 

The etcher John Postle (Joe) Heseltine (1843-1929) was also in Grez in 1879 and it was at this time that he and Melville became friends. The present picture entered Heseltine's collection as a memento of their time in Grez. Joe and his wife Sarah amassed a fine collection of modern art which was displayed at their home 196 Queen's Gate in London and Walhampton House in Hampshire which was built by Norman Shaw.