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282 - EDWARD VILLIERS RIPPINGILLE (BRITISH 1798-1859)THE ORDEAL BY TOUCHOil on panelSigned and dated '1825' (lower left)81 x 137cm (31¾ x 53¾in.)Provenance:The collection of John Gibbons, 16 Hanover Terrace, Regent's ParkThence by descent to L. P. Gibbons, Uckington, CheltenhamHis sale, Christie's, London, 29 November 1912, lot 120, where purchased by C. T. GibbonsDavid Cross Gallery, Bristol, where purchased by the present owner circa 1997Exhibited:London, The Royal Academy, 1825Literature:H. Colburn, 'Fine Arts/Royal Academy' in The Literary Gazette, London, 1825, vol. 9, p. 444'Exhibition - Royal Academy' in New Times, London, 26 May 1825Ed. A. A. Watts, 'Notice of the Works of E. V. Rippingille' in The Literary Souvenir, and Cabinet of Modern Art, London, Whittaker and Co., 1835, pp. 171-173The ritual depicted derives from a widespread and deeplyheld belief (cruentario, from cruentare, to make bloody) inmedieval and early modern Europe that a corpse would bleed in the presenceof its murderer. The man standing at the centre of the scene, left handextended towards the corpse, is the supposed murderer brought to a trial atwhich the corpse might bleed and so testify against the one who had wrongedher.Exhibited at the Royal Academy in 1825, the paintingwas reviewed anonymously in The Literary Gazette: 'In the school ofPainting, Mr Rippingille's Ordeal by Touch, 197, should either have beenrejected, or at least placed so as to be seen. The subject is of a character toexcite great interest and the talents hitherto displayed by this artist havebeen such as to favour a supposition of its being as well managed as works ofhis which have gone before. But the general appearance of the picture certainlydoes not warrant this; though as far as regards expression, the countenance ofthe accused bears the strongest traits of terror and guilt, and displays thepowers of the artist equally with any thing we have seen from his extraordinarypencil.' (“Fine Arts/Royal Academy” review, p. 444).In an anonymous piece about Rippingille in The LiterarySouvenir, 1835, it is said that although he had 'long enjoyed a highreputation among his brother artists', he was 'but slenderly appreciated by thepublic at large' who knew him chiefly by four pictures, one of which was, 'TheOrdeal by Touch' (vol. 9, “Notice of the Works of E. V. Rippingille”, p. 171).
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£2,000 - 3,000 (€2,300 - 3,600)Sale fees
EDWARD VILLIERS RIPPINGILLE (BRITISH 1798-1859)THE ORDEAL BY TOUCHOil on panelSigned and dated '1825' (lower left)81 x 137cm (31¾ x 53¾in.)Provenance:The collection of John Gibbons, 16 Hanover Terrace, Regent's ParkThence by descent to L. P. Gibbons, Uckington, CheltenhamHis sale, Christie's, London, 29 November 1912, lot 120, where purchased by C. T. GibbonsDavid Cross Gallery, Bristol, where purchased by the present owner circa 1997Exhibited:London, The Royal Academy, 1825Literature:H. Colburn, 'Fine Arts/Royal Academy' in The Literary Gazette, London, 1825, vol. 9, p. 444'Exhibition - Royal Academy' in New Times, London, 26 May 1825Ed. A. A. Watts, 'Notice of the Works of E. V. Rippingille' in The Literary Souvenir, and Cabinet of Modern Art, London, Whittaker and Co., 1835, pp. 171-173The ritual depicted derives from a widespread and deeplyheld belief (cruentario, from cruentare, to make bloody) inmedieval and early modern Europe that a corpse would bleed in the presenceof its murderer. The man standing at the centre of the scene, left handextended towards the corpse, is the supposed murderer brought to a trial atwhich the corpse might bleed and so testify against the one who had wrongedher.Exhibited at the Royal Academy in 1825, the paintingwas reviewed anonymously in The Literary Gazette: 'In the school ofPainting, Mr Rippingille's Ordeal by Touch, 197, should either have beenrejected, or at least placed so as to be seen. The subject is of a character toexcite great interest and the talents hitherto displayed by this artist havebeen such as to favour a supposition of its being as well managed as works ofhis which have gone before. But the general appearance of the picture certainlydoes not warrant this; though as far as regards expression, the countenance ofthe accused bears the strongest traits of terror and guilt, and displays thepowers of the artist equally with any thing we have seen from his extraordinarypencil.' (“Fine Arts/Royal Academy” review, p. 444).In an anonymous piece about Rippingille in The LiterarySouvenir, 1835, it is said that although he had 'long enjoyed a highreputation among his brother artists', he was 'but slenderly appreciated by thepublic at large' who knew him chiefly by four pictures, one of which was, 'TheOrdeal by Touch' (vol. 9, “Notice of the Works of E. V. Rippingille”, p. 171).
Auction details
19th Century Pictures & Works on PaperAuction house
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