In 1891, Cecil Round was operating from a studio in the village of Ockley in Surrey, and ‘between the sheets’ of the Dorking and Leatherhead Advertiser of 8 August 1891, we find news that he was visited at his studio by a certain Mr Edmund Yates (1831-1894). Yates, a novelist, playwright and journalist, was the distinguished co-founder and editor of The World, a weekly journal published in London from 1874 to 1920. It became one of the leading society papers, and included a mix of investigative reports, gossip and an ‘intimate style’ of journalism.
One may well wonder why Mr Yates should choose to visit Cecil Round at his studio – the obvious reason being to purchase or commission a painting – but perhaps also as a social visit, for they knew each other well. Cecil Round had previously painted Edmund Yates’ portrait. One of the most detailed reviews was reported in the Leicester Daily Post on 2 May 1889, when the painting was exhibited at the New Gallery (121 Regents Street, London).
A couple of days later on 4 May 1889, the Croydon Guardian and Surrey County Gazette ran the following editorial which is rather complementary in it’s conclusion that the portrait is ‘a capital likeness’.
Finally, we go ‘between the sheets’ of Black & White published on 21 January 1893 in which J.F. Boves meets Edmund Yates, and gives readers a guided tour of Yates’ home – disclosing along the way, that Cecil Round’s portrait hangs in the main hallway.
From our extensive research of Cecil Round’s work, we know that in 1926 the artist had a prolific output of paintings featuring scenes around Winchester, and believe this pair fit that category. This theory is also supported by the contemporary sticker on the rear of one painting, indicating it was framed by Victor Mahy (a specialist in authentic picture framing), at the Fine Art Department of Mahy’s store, located at The Square, Winchester.
The second painting, rather than being ‘lakeside’, also appears to show the River Itchen – note the distinctive outline of the ancient Hospital of St. Cross building at Winchester, just visible nestling in the trees of the water meadow, in the shadow of St. Catherine’s Hill; scenes that Cecil Round is known to have also painted from other angles, as you will find in our Online Gallery (refer also to our ‘On The Market… St Cross Winchester’ post from 27 September, 2019). For further details about this location and the Grade I listed building, you can follow the link, 
Tucked away ‘between the sheets’ of the Bridport News on 30 April 1886, we find fewer than thirty words announcing:
Although it was not reported within the newspaper editorial, our own research has confirmed the three paintings were entitled:
We assume he was renting rooms at the house, as it would have been quite a new property at the time, and he is unlikely to have been living there on his own.
Back to the market for 2024 comes, Summer Garden, which is being sold under the working title, Landscape With Girls In The Rose Garden, by Lodge & Thomas Auctioneers in Truro as part of a two-day auction event. Lot 1805 is scheduled to go under the hammer on Friday 31st May 2024.
To their right, the thatch roof of a traditional Devon cottage peaks into view, standing proud above the colourful array of cottage garden flowers of a quintessentially English garden setting. Beyond the garden, rolling hills stretch out above a wooded landscape, meeting the clear blue sky dotted with light, fluffy clouds upon the horizon.
The second painting is more typical of Cecil Round’s coastal landscapes and can more clearly be identified as Anstey’s Cove, near Torquay. The painting is undated but the colour of the shrubs and trees in the foreground, possibly suggest an autumnal setting.
Thanks to everyone who has been in touch with us throughout the past year, and especially to those of you who have been kind enough to share news and images of your Cecil Round paintings, for our Online Gallery and News updates.