Artist: Charles Sillem Lidderdale

Signed: ‘CSL’ monogram

Dimensions: 65cm x 53.5cm

Sight: 49cm x 39.5cm

Charles Sillem Lidderdale

Born: September 28, 1830

(British Chaplaincy, St. Petersburg, Russia)

Died: 1895 Hampstead, London, England

Lidderdale’s paintings are now demanding upwards of £25,000

Charles Sillem Lidderdale was a British artist whose work often focused on portraits of young women in outdoor settings...

Details on Charles Sillem Lidderdale

Charles Sillem Lidderdale was an artist of promise who exhibited 36 paintings at the Royal Academy from 1856-1893. His career was marred by eyesight trouble which, after lengthy and skilful treatment by Tirgolin Tweedy, the oculist, yielded sufficiently to enable him to continue his work. Unfortunately, he had to give up watercolour, a medium more exacting than oils. His work, perhaps, was most liked in the Midlands where many of his pictures are in private hands.

A painting of the head of a girl, which was in the Gassiot Collection was destroyed when the Guildhall was bombed in the 'blitz' on London on 10th May, 1941. His portraits were few, and those of his Uncle James and his wife, Jane Hannay, were sent to the Scotts descendants in New Zealand. Two paintings, in watercolour, of Hester Liddardale, (born Ponsford), and her son, Arthur Hector, the painter's sister-in-law and nephew, are in possession of the last named.

Charles Sillem married Kezia Morris, daughter of Edward Morris, of London, and after his death was buried in Kensal Green Cemetery.

They had four children, Ann Esther, James Halliday, William Kennedy, and Robert Halliday.

The 1870-94 diaries, account books and notebooks of Charles Sillem Lidderdale are held at the Victoria & Albert Museum - National Art Library under reference MSL.1983/4 NRA 38891.

Written by the National Art Gallery:

Charles Sillem Lidderdale is an artist who, in the department of genre subjects, is rapidly acquiring a good reputation.

He first appeared at the Academy in 1856, when he sent ‘A Greenwich Pensioner’ and its companion ‘A Chelsea Pensioner’ along with ‘A Blind Woman Examining the Features of her Sleeping Child’ the latter, a singularly chosen subject, had much feeling and skill.

In1859 we find him making considerable progress over his preceding efforts, in a very pretty little composition entitled ‘Happy!’ an infant sprawling on the floor, while an elder sister tickles it with a feather, to the delight of the baby and the amusement of its mother, who stands by.

A yet more steady advance was apparent in his two next pictures ‘Too Bad' and ‘A Wood Carrier’ which were exhibited in 1863.

The following year in 1864 ‘A Girl with a Net’ and ‘Counting the Change’ also depicted a young girl, who, returning from market, where she has been selling her eggs or other country produce, seats herself on a stile by the way-side to count over the day's proceeds.

‘Wishing’ ‘Bird-keeping’ and ‘Looking Seaward’ a