Oil on Paper laid on Board of Stonehenge

An Oil on Paper laid on Board of Stonehenge Entitled in Pencil to the Reverse ‘Stonehenge Summer Sunrise’ and Signed ‘Gideon Fidler Teffont Magna Nr Salisbury
Early 20th Century
Size: 14cm high, 18.5cm wide - 5½ ins high, 7¼ ins wide
Gideon Matthew Fidler (1857 - 1942) was the younger brother of the impressionist painter Harry Fidler. Both sons of a Wiltshire farmer they lived and worked in the villages west of Salisbury such as Teffont Magna. Gideon also painted in Scandinavia, exhibiting works at the Royal Academy in 1895 one of which was entitled ‘In Gamie Norge’. He also exhibited at the Royal Society of British Artists and the Royal Institute of Painters in Watercolour.
Stonehenge today after the repositioning and straightening of 23 megaliths between 1901 and 1964 does not seem very very different from the ruins as it was first depicted in recognisable form. A ‘trilithon’, one of the five individually linteled pairs of tall uprights that once stood in an arc at the centre of the site, is missing from the famous portrayals by Turner and Constable as it fell down in 1797 and was repositioned in 1958. However, it is possible that the Stonehenge the Welsh cleric Geoffrey of Monmouth describes in his 1136 AD ‘Historia Regun Britannia’ is the one we see now. The monument and the questions asked about it have not changed in 650 years, it is the answers that are now put forward to those questions, and the wider context in which Stonehenge is viewed, that has profoundly changed. Huge numbers of people now visit the stones, well over the equivalent of the whole of Britain’s population in Geoffrey of Monmouth’s time have viewed them in the past five years. Stonehenge retains its mysterious power and its place in the history of Britain. It is much more than just a monument to the past.

Oil on Paper laid on Board of Stonehenge

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ENQUIRIES

+44 (0) 207 689 7500

+44 (0)7836 684133
+44 (0)7768 236921

enquiries@finch-and-co.co.uk