Cecil M. Round Online

With great intrigue, we read ‘between the sheets’ of The Totnes Times and Devon News of 11 June 1898, that Cecil Round was on the trail of ‘certain evil-disposed persons’ who it was alleged, had been circulating reports about him of a slanderous nature – the detail of which is unrecorded but to which he clearly felt the need to robustly respond through this ‘Official Notice’ in the county newspaper:

It is ‘between the sheets’ of the Dorset County Chronicle of 18 February 1892 that we hear news of a fire at Cecil Round’s studio:

“DESTRUCTION OF VALUABLE PICTURES. Mr Cecil Round, of Oakley, Surrey, had the misfortune to lose some of his valuable pictures in consequence of a fire at his studio. One of these pictures was valued at £300. He was, it seems, entering his studio with a paraffin lamp in his hand when he tripped and fell, the contents of the lamp quickly igniting the place. Help was near and, assistance immediately rendered, the fire was extinguished. Mr Cecil Round is well known to many in Bridport on account of his paying visits to his friends. His mother resided in Bradpole Road and he is likewise the nephew of Mr Beach, chemist, of this town.”

Here is an interesting snippet from ‘between the sheets’ of The West Surrey Times and County Express from 17 February 1888. Not only does it position Cecil Round in Ockley (Surrey) but it also provides invaluable insight into his painting technique – if the editorial can be relied upon, it would appear that in 1888 he painted entirely in the open air. The guest list serves to demonstrate his local popularity, with those named presumably representing the ‘good and the great’ of Ockley in their day!

Cecil Round was clearly well regarded as an artist as he was commissioned to paint the portraits of many influential people – amongst them, we read ‘between the sheets’ of the Lady’s Pictorial of 25 December 1886, was Alexander Meyrick Broadley (1847-1916).

Broadley was a British barrister, author, company promoter and social figure. He is best known for being the defence lawyer for Ahmed ‘Urabi (otherwise known as Aribi Pasha), an Egyptian nationalist who was put on trial in Cairo for insurrection after the failure of the ‘Urabi Revolt (1879-1882).

Earlier in the year, we discover in The Shields Daily News of 25 June (1886) that the portrait, at that time unfinished, was displayed at a ‘bachelor party’ hosted by the sitter, Mr A. M. Broadley. The following extended quotation from a Lady’s London Letter column, gives an insight into Broadley’s social life as a ‘modern man’ of his time:

“Bachelor parties are growing quite popular in London. I do not mean the old-fashioned ones, dinners of men alone, with smoke and drink for hours after, accompanied by what men by themselves suppose to be witty and amusing talk. Not this at all. The modern bachelor gives his afternoon for ladies as well as gentlemen, in defiance of the supposed need for a hostess.

“Mr Woodall, M.P., the Surveyor General of Ordnance, gave one the other day. I had a card, but did not go, having another engagement. I heard, however, that the afternoon was not brilliantly successful, because there were not enough men there!

SOURCE: The Illustrated London News (1882-11-18). This likeness is included for illustrative purposes but is NOT the portrait referred to, by Cecil Round.

“No such complaint could be made against the ‘Musical afternoon,’ given on Tuesday, by Mr A. Broadley, the famous Counsel, who defended Arabi Pasha. His pretty rooms are decorated with all manner of Eastern curiosities, including many relics of Arabi, gifts from the Kasre decorated with and portraits of crowds of distinguished people (poor Fred Burnaby amongst them) hanging on the walls, and a capital portrait of the host by Cecil Round standing on an easel, being not quite finished.

“In these rooms Mr Broadley put a nice spread, wonderful cakes, iced souflees, ‘oups’ of all kinds, and tea and coffee, and there he had quite a crowd of ladies and a lot of men: Elizabeth Countess of Harrington, Lady Fanny Fitzwygram, Lady Gorst, Lady Anna Chandos Pole, Lord Lamington, Hon. W. Cochrane Bailie, and I know not how many more people with famous names with and without handles.

“There were, I should say, a hundred guests. The singing they came to listen to was something very superior to that which is heard at the usual run of parties, for Madame Marie Roze sang four times in the afternoon, and Miss Marion Burton (the contralto of the Carl Rosa Company) four times, and Messrs Barrington, Foote, Scovel, and Carpi also helped, and Mr Capper gave some thought reading. Mr Broadley’s party was a success indeed; many hostesses would envy this bachelor his afternoon.”

Of Broadley’s 40th birthday party the following year, we read ‘between the sheets’ of The York Herald of 21 July 1887:

“Princes and princesses, peers and peeresses, bishops and baronets, diplomatists and doctors, members of Parliament and musicians, authors and artists, actors and actresses availed themselves of the opportunity of offering birthday congratulations”.

It was around this time, that Broadley was appointed de facto editor of Edmund Yates’ periodical World. Yates was to become another of Cecil Round’s sitters, with his portrait being exhibited at the New Gallery (121 Regents Street, London) – to much acclaim!

Hiding in plain sight ‘between the sheets’ of The Bridport News and Dorsetshire, Devonshire and Somersetshire Advertiser of 1 May 1885, we discover under District News, invaluable information about one of Cecil Round’s early exhibits at the Royal Academy:

“A painting by Mr Cecil Round, of Bridport, ‘One of those heavenly days that cannot die,’ has been accepted by the Hanging Committee of the Royal Academy. The view is of ‘Stepps Farm,’ in this parish taken from the south-west, and is embellished with those beautiful autumnal tints which last year were exceptionally fine.”

We have been able to determine from the Royal Academy Exhibition catalogue (1885) that the painting was exhibited in this their 117th exhibition, under the reference number 648 which hung in Gallery No. VII.

The title of the painting is a quotation from Nutting, a poem by the English romantic poet, William Wordsworth (1770-1850). Written in 1799, Nutting is an autobiographical poem that delves into the speaker’s evolving connection with nature, transitioning from youthful excitement to a moment of careless damage, and eventually to a moral awakening. The line appears early in the poem, and is used to describe a cherished memory from the speaker’s (poet’s) boyhood. Cecil Round was clearly inspired by this poem, which you can read in full, HERE.

Following the death of Cecil Round in June 1933, we find ‘between the sheets’ of the Western Morning News of 12 July 1933, a formal notice for any Persons having a claim against the Estate of the late Cecil Mendelssohn Round, to come forward to S. W. Page, Son and Elias of Wolverhampton. The advert includes details about where Cecil Round had resided prior to his death, along with the address where he sadly passed away.

Cecil Round painted many portraits throughout his career, and this update from ‘between the sheets’ of the Western Times on 12 June 1931 comes towards the end of Cecil Round’s career (he died on 20 June 1933).

The short report carries local news – that Reverend E. S. Chalk, rector at the village of Kentisbeare (near Cullompton in Devon), had commissioned Cecil Round to paint his portrait; a task he had recently completed.

Discovered ‘between the sheets’ of the Leamington Spa Courier of 18 January 1907, is this rather splendid article entitled, ‘A Royal Academy Exhibitor’. Not only does the article disclose biographical detail about Cecil Round’s early life as an artist, it also gives an insight into one of his techniques for gaining new clients. Key background information about a number of his past clients for portraiture is also disclosed, and crucially, we learn that he was staying in the Leamington Spa district at the beginning of 1907, albeit the length of his stay is undetermined. The following is a transcipt of the article, to which we have added a couple of illustrations.

“Portraits in oil are always attractive; they possess warmth, and appear to carry with them an individuality, a personality, as it were, which photographic art, notwithstanding the greatness of its achievements, seems unable to impart. We are drawn to the painting, impressed by it, and retain a distinct memory of the features presented by the artist. The photograph, however highly finished, is only one of scores scattered round our homes, and soon forgotten. The photograph may be prized for a year or two as a personal souvenir, but, unlike the work on canvas, is scarcely to be retained as an heirloom.

“Visitors to Messrs. Burgis and Colbourne’s stores should devote a moment to the inspection of a painting – on the ground floor, and in an excellent light – of a pretty little English lady of some sixteen summers – Muriel, daughter of Sir Paget Bowman, Bart., of Joldwynds, near Dorking, Surrey. It was exhibited some few years since in the Royal Academy, and is from the brush of Mr Cecil Round, an exhibitor in the Paris Salon as well as in the Royal Academy. The picture, 3ft. by 2ft., is a three-quarter length portrait, and represents a typical English girl, with clear complexion, blue eyes, and hair of bright auburn. She holds in her hand a few primroses, and is robed in white, simplest yet daintiest of girlish dresses.

“Mr Round is at present in Leamington, and contemplates remaining in residence here for some time, and it is for this reason that he has, through the kindness of Mr Charles R. Burgis, secured space in the Stores for this specimen of his work. Messrs. Burgis and Colbourne will be happy to place the artist in communicaiton with intending sitters.

“Mr Round began his career early, and it is not without interest to know that it was in the Midlands that he first exhibited. This was at the age of sixteen, when he [exhibited] a landsacpe, which was shown at one of the exhibitions of the Royal Society of Artists, Birmingham. A year later, when a youth of seventeen, his first picture was hung on the line at the Royal Academy. Since that time he has numbered amongst his sitters many well-known persons, including Mr Edmund Yates, the editor of the World, the intimate friend of Charles Dickens, and one of the most conspicuous and successful journalists of his day. Mr Yates’ portrait was a full-length, the canvas measuring 8ft. by 6ft. It was exhibited at the New Gallery, Regent Street, London, and regarded as a remarkably fine likeness. Mr George Augustus Sala, at a private view, was struck by the life-like effect, and gave vent to his admiration in epigrammatic fashion: ‘It is more like Yates than Yates is like himself,’ he said.

“Colonel Hughes-Hallet, formerly M.P. for Rochester, was another of Mr Round’s sitters, as was also Sir Robert Harvey. Coming nearer to home, Mr Round had the pleasure of painting the Hon. Mrs Jervoise-Smith, sister of the late Lord Willoughby de Broke. This artist, therefore, comes into our midst with an enviable record and excellent credentials. We doubt not he will make many friends. The duration of his stay in Leamington will, of course, depend upon the length and number of his engagements.”

We read ‘between the sheets’ of the Bognor Regis Observer of 13 July 1904, that the local Church Renovation Fund benefited from a Swiss Village Fete and Bazaar, held at Bosham (near Chichester) on Wednesday and Thursday the previous week: “The result was grand and must have been far in excess of the most sanguine expectations. £350 or thereabouts is by no means an easy amount to collect…”

It seems there had been a varied programme of activities and stalls. Much to our interest, it was reported that: “One of the principal articles in the Bazaar occupied the centre of Miss Bradshaw’s stall. It was a magnificent painting of Bosham, the work of Mr Cecil Round, living at Bosham, and for this £10 10s. 0d. was asked. It was eventually drawn for at 2s. 6d. per ticket.”

Despite a lengthy write-up, the editorial was not illustrated, but we note that our own Online Gallery contains a picture of “Critchfield”, Bosham which is also dated 1904; no doubt painted at a similar time to the exhibited piece.