Home » Landscapes & Livestock » H. Clarence Whaite [1895-1978]

H. Clarence Whaite [1895-1978]

Image

[From the catalogue-in-progress for “Landscapes & Livestock”, a loan exhibition for Agincourt Homecoming in the Fall of 2015]

WHAITE, H. Clarence [1895–1978]

“Maiden and Horse”

1920s

pastel or charcoal on paper / image 13.5 inches by 13.5 inches

Not to be confused with his distant cousin Henry Clarence Whaite (1828-1912), this H.C.W. studied art from the age of fourteen at the Manchester Evening Schools and then on scholarship at the renowned Slade School in London. Choosing a subject more contemporary with his older cousin, Whaite’s sketch shows a woman and horse in the spirit of the Pre-Raphaelite Brotherhood of the 1860s and 70s, long before he birth. A study for a larger work, this might have become part of a mural or a mosaic, a metal casting or even stained glass.

“Maiden and Horse” was donated to the Community Collection in the 1950s by Edith Gladden who, with her husband Monroe, had operated a gallery and frame shop in Agincourt. A note on the accession form states the piece had been shipped from an English gallery as packing material for other works. Notified of their “error” the British gallery graciously declined the offer of its return.


2 Comments

  1. Jan Hodges says:

    I am intrigued to read your account of “Maiden and Horse” by H.Clarence Whaite This drawing is still for sale on ebay in the Uk by the dealer that purchased It at auction from the studio sale of Clarence and his daughter Gillian, earlier this year. I am the official archivist for father and daughter, appointed by the Executors. Would be interested to hear your comments.

    Best wishes, Jan Hodges jan_hodges@hotmail.co.uk 23.12.13

  2. For others who visit this site, I hope it becomes clear that Agincourt, Iowa is a construct of the collective imagination of several participants in what we have come to call The Agincourt Project. The place is imaginary and so are many of its denizens, though several of the artifacts used to interpret its history are real, as are their creators, some of whom have been conscripted into the story line–without their knowledge and often posthumously.

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