Philip Hermogenes Calderon RA (1833-1898) 'The Vine' Signed and dated lower right 'P H Calderon 1880' and numbered, titled and signed on the stretcher: 'No. 5 The Vine P H Calderon', oil on canvas 140 x 110cm Provenance: Bought from the artist by Sir John Aird, Hyde Park Terrace, London, and thence to his son Malcolm Rucker Aird, Woolton House, Newbury, Berkshire; Christie's, London, 1 May 1931, lot 14; Sotheby's, London, 24 October 1972, lot 67; Christie's, London, 16 March 1973, lot 39. Philip Calderon was born in Poitiers, France. Calderon planned to study engineering, but he became so interested in drawing figures and diagrams that he changed his mind and devoted his time to painting. In 1850, he trained at Leigh's Art School, London, then in 1851 he went to Paris to study under François-Édouard Picot. His first successful painting was called 'By the waters of Babylon' (1852), which was followed by a much more popular one called Broken Vows (1856). From the beginning he was inspired by the Pre-Raphaelites; the artist Henry Stacy Marks was his friend and brother-in-law, and Calderon exhibited his portrait at the Royal Academy in 1872. Calderon became a leading member of the St John's Wood Clique, a group of artists interested in modern genre and historical subjects who were inspired, both artistically and socially, by the Pre-Raphaelites. Historical, biblical, and literary themes were common in Calderon's later work. His later paintings adopt a more classical style, comparable to Edward Poynter, which resulted from his close relationship with Frederic Leighton, then-President of the Royal Academy. Calderon became Keeper of the Royal Academy in 1887, and from then on worked to support the teaching of anatomy based on nude models at the Royal Academy Schools. His 1891 painting 'St Elizabeth of Hungary's Great Act of Renunciation' was secured by the Chantrey Bequest for the national collection, and is now located at Tate Britain. Condition report: Does not appear to be lined. To the reverse of the canvas there is a small patch towards the lower right edge, to the front there are three smallish corresponding patches of retouching. The canvas is a little slack on the stretcher. Some craquelure in parts and stretcher marks emerging. A little bit of shrinkage to the lower left. Two small flecks of missing paint, one to the shirt and one to the lower right background. Under UV light there is a repaired scratch through the left arm and grapes and there are some small isolated dots of retouching elsewhere, however, in general, for a painting of this size and date, it is in generally good original condition. Probably in its original frame. It may benefit from a light surface clean, however, it is fairly ready to hang. Please view additional images for details Oil on canvas which is unlined. The canvas tension is slightly slack and there are minor undulations across the surface. The paint layer has developed drying cracks in the darker paint passages as it has dried, these are stable. In localised areas there are cracks with raised edges and a few scattered losses to the paint layer. A few old damages to the paint layer have been repaired and retouched. These are obvious due to the surface texture and slightly mismatched retouching - for example the diagonal line across the sitter's right arm. There is a thin layer of varnish which is likely to be original. The varnish is slightly yellowed but even. The frame is in a good condition.