A HISTORY OF

The Yellow Door School of Landscape Painting.

Frank Spenlove-Spenlove Founder

   So it was to be in Beckenham in Kent, back in 1896, that the artist Frank Spenlove-Spenlove, a fine British landscape painter, established the now famous 'Spenlove School of Modern Landscape Painting.'

Better known as the 'Yellow Door School of Art'.

 Trained practically himself within the more relaxed Parisian studio system, he passionately maintained;

"The French system of teaching is better than the English because French masters take students up and train them individually."

 This was a firm policy and method he adopted and followed all his life, running his own art school in much the same, less formal and relaxed way. Thus he allowed his pupils 'great room for individuality' and the additional scope to 'develop their very own style.' Though endowing them with; "superior technical knowledge" and the basis with which to accomplish it.

 Frank would devote a generous amount of time to each student, suggesting individual improvements and urging them on with great enthusiasm. Teaching them to observe and develop their art. All of his pupils truly admired the man.

 Observers to the art school sessions record how impressed they were with what an extraordinary 'variety' of styles were to be seen amongst his students' work.

 The Yellow Door Art School was originally located at No. 34, (later No.80) Beckenham High Street, but in November of 1917 it moved to its permanent home 116, Victoria Street, in London.

 Though the original building in Beckenham was destroyed during the war and the schools future records are equally sadly lost, likely also destroyed during the war years when stored with his paintings and chattels, Frank's legacy lives on. With huge number of his art students becoming successful artists in their own right. As can be attested to by the copious list of numerous artists we do know that trained under him. Though this is only the tip of the iceberg.

See section below:

Some notable Students emerging from the Yellow Door School of Painting:

For students of the arts, apart from those just interested in the fascinating life of this artist, it may be useful to understand the background to:

The Development of the British Art School system.

  Towards the end of the 19th century, during the period in which the Yellow Door Art School in Beckenham was first established, there was a unique boom in the development of both public and privately run British art schools.

 Between the 1850's and 1900 there had been a dramatic, nation-wide mission launched by the government, which had established hundreds of art schools across Great Britain and Ireland and all in part-sponsored and approved by the government’s own ‘Department of Science and Art’ which was based in South Kensington.

  The Royal College of Art was the main institution behind the push and at was at the true heart of this scheme. Though the Department of Science and Art itself controlled what was a very complex and comprehensive system of art education in Britain.
This included its examinations and inspection, competition and the awarding of certificates and medals of merit to encourage excellence from its students.

 The town of Beckenham was a good choice for establishing one of these new art schools and the Beckenham School of Art, established in 1901 was first to be officially set up.  Beckenham was after all, an affluent London suburb and there was no shortage of earlier private schools vying for the tutoring of students in art. As can be attested to by advertisements appearing in Local Newspapers around the 1880’s.

“Morning Classes for the Daughters of Gentlemen including Sketching Classes by Mr.Buckman of the RA Schools.”       

[Beckenham Journal]

Another such advertisement boasted for fledgling artists…;

“Rooms at 1 Rectory Road, with top light and large windows”

 For Edwin Buckman, art tutor to Queen Alexandra, his was a private art school and one that in turn became the studio of Henry Carr RA.

After him it became the studio of the painter, Laurence Norris RA, then two other artists took over, one called William Ainsworth Wildman and finally another called Wolfe Kassamov, knowledge of whom little is recorded.

 A much more colourful example and the very first establishment to actually stake claim to the full title of ‘Art School’ was;

The Beckenham School of Music and Art; based at number 10 -11 The Parade, Beckenham.

 This training school seemingly had unlimited pretensions and an aristocratic, though interchangeable pedigree, offering an extravagantly colourful, almost pompous style.  Boasting a manicured staff of; “fifty professors” which was led by its eminent Director of Studies, the classical composer of music, Mr. Arthur O’Leary.

It had an art master called Hugh Bellingham-Smith, who was a medallist of the Slade School of Fine Art at London University and he was later replaced by another art master called Mr. Pyne.

Hugh Bellingham-Smith

 Like Frank Spenlove's school, this school sought to teach drawing and painting from “Natural Objects and Life. With a special attention given to the encouragement and development of individual talent”.

 So it was into this rich and wide open market place, that in 1896 and right alongside similar local art training enterprises, Frank Spenlove Spenlove, opened his own art school, the Yellow Doors Studio. An event which was announced, in  true flourishing rubric 'Spenlove' pen brandishing style - thus:

The Spenlove School:

“For years past the Private Studios of English Artists of distinction have
been practically closed for the purpose of study in the various branches of
art, and even when opportunity has presented itself the terms charged have
been so high that only those who happen to be in a position to afford such
fees could receive the benefits, but in the instance of the Spenlove School
its immediate object is to provide high class modern instruction in all
branches of Drawing and Painting at moderate terms, and the system of
training employed based upon that encouraged in all First Class Continental Studios.

Classes include Figure, Portrait [from life], Landscape, Marine,
Flowers, Black and White for Illustration, also sketching out-of-doors
during the summer and Miniature Painting, Special Landscape from the Sketch to the Finished Picture,

Drawing for the Press and  Lessons by Correspondence.”

 Mr. Spenlove was to be the self proclaimed 'Principal and Director 'and his assistant, a 'drawing master' who is an elusive man who I can find little factual detail of (Apart from a likely listing in the Census.)

 He was the implausible sounding, but no doubt a man adding great 'Continental colour' to the Spenlove school prospectus and the campus, Signor Amando Profile, who Frank spelled as 'Profile'. He was actually the Italian,  Peter Armando Profill, the late master at King's College, London.

 The Yellow Door school of art offered practical tuition both in the studio itself, to those in specific attendance to one of the first private art schools to be opened near London and even more uniquely, by offering correspondence courses to those further afield.
The Spenlove art correspondence courses would open up to the world, real practical training in painting and moreover professional critique and advise from a leading exponent of painting at the time. This came from an increasingly famous man and an artist that had exhibited near 100 times the RA and who was represented in some of the most major collections in the Commonwealth including that of the Collection King George V., Frank Spenlove Spenlove.

 Allegedly no fewer than fourteen thousand students passed through the Spenlove art studio, though this is in no way confirmed and is typical of the flowery and often exaggerated claims made by art schools of the times. All to be taken with a pinch of salt. But Frank certainly nurtured and tutored many, many artists and even more through his successful correspondence courses.

 What is very clear however, is that his attendee students travelled from all around the Kingdom to be trained under Frank's watchful eye and we are told, from as far afield as; Russia, Japan, France, Spain, Canada, Australia, New Zealand and the United States. All wanting to train at his truly 'international' school of art.

He also offered what was advertised as; 'SPECIAL OUT-DOOR PAINTING CLASSES' En plein air, near London during the Summer which is covered later.

 Private art schools of the time were prone to puffery, high on labels, titles and rather self assumptive claims, but were often short on content and invariably run with meagre resources in rented rooms. But Frank's was a serious concern and well respected. What they did offer had great associative appeal, by way of drawing and painting 'like a real artist', but without any of the obligations, regulations, examinations and presentations that art students in the official art schools worked to.

 But it was obvious that Frank wanted his art school to have the best of both worlds and like the new state run art schools, when assessments were made of his students works, or if they were lent to exhibition, they bore the art school's own rubber stamp.

SPENLOVE'S GOLDEN PORTAL 

 James McNeill Whistler (1834–1903), who in 1888 lived next door to Frank Spenlove in Tite Street, was to christen Frank Spenlove-Spenlove's art school; 'Spenlove’s Golden Portal'

But why?

 Well Frank was a logical man and the fact that first Yellow Door Art School in Beckenham had a bright yellow entrance door on the front, the name just stuck.

 But it has also been called over the years; The Spenlove School. The Spenlove School of Modern Art, the Yellow Door School of Painting, Spenlove's Academy, the Spenlove School of Modern Landscape Art. Yellow Door Studio, the Spenlove Art Academy, the Yellow Door School of Painting and the Yellow Door School of Modern Landscape and Pictorial Art !

There follows an interesting and enlightening insight into life at the Yellow Door Art School, by a visitor recording the event:

 "Students who are already finished artists, but who, feeling they have still more to learn - as the true artist always must return from time to time to the studio to put in some more hard work. They will probably produce numerous drawings, paintings, and sketches, and will bring them to receive Mr Spenlove-Spenlove's criticism and advice towards the latter part of the lesson, when the class has been well started and he has at last found a few free moments to spare.

 One of these, was a beautiful study, full of poetry and imagination, showed a pool with nymphs bathing by the light of the moon, with a wonderful effect of the light shining through trees into the glimpse of dark water.
Mr. Spenlove-Spenlove finds that this plan of having students at all stages of progress working together in a single class-room, is very helpful to beginners, for the advanced ones form a ladder leading them on and encouraging them to further efforts towards success.

 Many of the students, who are anxious to be able to introduce figures into their landscapes, work from draped figures and costumed models posed in the studio on one or two days a week. These models are chosen with a special view to their subsequent introduction into the students' landscape pictures. Dressed as Elves, fairies, milkmaids, herdsmen, woodcutters, and harvesters, they all visit the studio in turn."

Advertisement: Beckenham Journal 12.01.1901

“SPENLOVE”
SCHOOL OF MODERN ART
(Founded in 1896 by Frank Spenlove-Spenlove
R.C.A., R.B.A.

Studios

"The
Yellow
Door"
Church Hill – Beckenham
_____________________

Principal & Director
Frank Spenlove-Spenlove
R.C.A., R.B.A. &c., & c.

Member of the Council (By Royal Charter) Royal Society
Of British Artists. 14 years Exhibitor Royal
Academy. Member Royal Cambrian Academy,
Paris, Munich, Brussels &c. Highest recommendations
From Royal Academicians and leading
Painters of the day.

Only a limited number of Students received.

Assistant Drawing Master :
SIGNOR AMANDO PROFILE
( Late Master at King’s College )

Object of the School. – For years past the
Private Studios of English Artists of distinction
Have been practically closed for the purpose of
Study in the various branches of Art, and even when
Opportunity has presented itself, the terms charged
Have been so high that only those who happen to be
In the position to afford such fees, could receive the
Benefits in the instance of the “ SPENLOVE”
School its immediate object is to provide high class
Modern instruction in all branches of Drawing and
Painting at moderate terms, and the system of train-
Ing employed is based upon that encouraged in all
First Class Continental Studios.
The classes include Figure, Portrait (from life),
Landscape, Marine, Flowers, Black and White for
Illustration, &c., also Sketching out-of-doors during
The summer and Miniature Painting.
Special attention is given to the encouragement and
development of individual talent and advan-
tages to those taking Art up professionally.

_______

CLASSED FOR LADIES
_______

JUNIOR DEPARTMANT
Conducted by SIGNOR A.PROFILE, under
Mr. S Spenlove’s immediate supervision.

SPECIAL LANDSCAPE
Instruction- from the SKETCH to the FINISHED
PICTURE

BLACK AND WHITE & Drawing for the Press
LESSONS BY CORRESPONDENCE

Prospectus and further particulars upon appli-
Cation to the Principal by letter, or personally
at the Studios, on Fridays, 3.30 to 4.30.

Spring Term begins Tuesday
January 8th.

Advert 10.01. 1914

Principal and Director

FRANK SPENLOVE-SPENLOVE

R.I, Royal Institute of Painters in Water Colours
R.C.A, Royal Cambrian Academy
R.O.I., Royal Institute of Oil Painters
R.B.A., Royal Society of British Artists
International Honours.

Membre de la Societe des Artistes Francais
Member of the New gallery Society of Artists
Member Royal Institute of Painters in Water Colours (By Royal Sign - Manual )
Member Royal Institute of Oil Painters
Member Royal Society of British Artists ( By Royal Charter )
Member Royal Cambrian Academy
Member Japan Society
Member of Committee International Art Congress for the Development
of Drawing and Art Teaching 1909
Member of the Royal British Colonial Society of Artists
Fellow of the Royal Society of Arts
Fellow of the Royal Geographical Society

International Honours: Paris, Rome, United States, Munich, Berlin, Brussels, Leige
(Diploma of Honour 1905)
Gold Medalist Paris Salon 1901, and the picture “Funérailles dans les Pays Bas a jour d'hiver”
Purchased by the French Government for the state and placed in the famous Musée du Luxembourg Paris –
Also in 1905 when this single honour was repeated when the work “Trop tard – Return of the prodigal” was bought for the Luxembourg.
And again in 1906 when “Le dernier voyage” was acquired by the state for the Hotel de ville Paris.
The highest honours that can be given to a living artist.

The Yellow Door Scool of painting Stamp

Notable students emerging from the Yellow Door School of Painting:

  It is a remarkable achievement for Frank Spenlove to have taught, encouraged and fostered so many aspiring talents at the Yellow Door School of Art.
Many are artists that have been both successful in their careers but equally, influential in their own artistic circles.

 This is but a handful of people that I have discovered in my limited research, as all records of those attending the art school are lost. There surely are countless others who attended, yet to be added to this list.
What is obvious is the number who were deemed good enough to have their works hung at exhibition level. Just look at those RA's.

This surely is a measure of the man?

Paul PAUL RBA. British (1865 - 1937) Landscape and Portrait painter born in Constantinople .
Member of the Royal Society of British Artists 1903.
Exh: 1899-1932. RA 10, RBA 27, ROI 9. B4, Gl 1, GOU 1, L 27, M18,

Constance Helen BRADSHAW. (1873—1961) British;
Born Manchester. Primarily a landscape painter in oils. Working in Cornwall.
Exh; RA:16, SBA; from 1899 onwards (170); GL3, L1, NEA 1, RBA 133,SWA, 96.
ROI, RBA, APSWA; PSWA, STISA

Eleanor (Weymouth) HUGHES RI (1882 – 1959) Born in Christchurch, New Zealand. 

Landscape artist in watercolours and print maker:
Trained under Stanhope Forbes. Became a leading member of St Ives School in Cornwall.
She exhibited at the RA 37 times (all pre 1939) and the Royal Institute of Painters in Water Colours 34 times. She also exhibited a the New English Art Club (7), Glasgow Institute (9), the Society of Women Artists, the Walker Art Gallery, Liverpool, and elsewhere.
She exhibited with the St Ives Society of Artists 1933-late 1940s and took an active part in the organisation.  Her works are held in Public collections.

Thomas Sherwood LaFontaine (1915-2007) Born in Turkey to English parents.
Special interest in animal paintings in oils and watercolours Horses, dogs, sporting. Often mistaken for Munnings. Exh RA 8.

Margaret THEYRE WIAC British ( 1897-1977 ) Born Northampton painted mainly landscapes, horses and figures but was also a potter. Worked extensively in the Pyrenees.
Exh;1921-40. RA 2, RBA 2, RCA 18, RHA 3, RI 3, D 1, Gl 1, L 3, LS 3, SWA 3, WG 18 and Cooling Galleries.

Phylis Elsie Wedlock PRIDE R.Cam.A., SWA ( Fl 1938)
Oil Painter of Portraits.
Exhibited at the RA, RSA, RP P 1, ROI 1, and abroad. Received an Honourable Mention at the Paris Salon 54, Silver medal 55, and a Gold medal in 1960.

Charles Mayes WIGG (1889-1969) British landscape artist and etcher, particularly Norfolk and the Broads.
Exhibited at the RA in 1915, the British Watercolour Society and in Norwich and Yorkshire.

Edith M. VICARY SWA. (Mrs Bulteel) from Exeter; B Cornwall: Exh 24 works between 1902 to 1915 – SWA. known to exhibit from 1901 to 1914 at the Walker Art Gallery, Liverpool; the Royal Institute of Oil Painters; The RA; the Dudley Gallery; and the Society of Women Artists

.

Joyce Deighton DIXON
Born Gateshead. Landscapes , Portraits and Flowers. Exh; 1919 Artists of the Northern Counties, (Laing) RA 1950, Glasgow Institute, Royal Hibernian Academy, Royal Scottish Academy, Society of Women Artists. Became Frank's studio assistant.

Sheila Scott HENDERSON B 1910
Exh; BK, NEA, RA, RCA, ROI, RSA

Rosa Ellen TAPP ASWA ( 1864 –1940 ) from Beckenham:– Exh 1902-1918 34 works + some florals Elected an associate of the Society of Artist of Women Artist in 1905 and she exhibited at the Royal Society of Artists, Manchester City Art Gallery, Royal Cambrian Academy and the Society of Women Artists and the Royal Institute of Oil Painters.

Herbert Francis PILGRIM (1915- ) British, born in Woolwich London. A landscape painter and photographer with a special interest in animal subjects. Exhibited in London.

Esther Studholme BARKER (1885-1975)
Esther S Hope New Zealand
Watercolourist travelled in Europe, painting in many countries also travelled to Malta.
Came to train and Exh; London 1911 and Paris.
Exhibited RA, Royal Institute of Water Colours, Scottish Watercolour Society. Society of Arts NZ 1919. Auckland Society of Arts. Otago Art Society The oldest society in NZ.
Six of Esther's watercolours are at the Aigantighe Art Gallery in Timaru. Represented in McDougall, DPAG, and Aigantighe Art Gallery, Timaru galleries NZ.

Lindsay Scott CLARK – (fl. 1937-1957) Born Forfar Scotland. Painter of Scottish Landscapes and marine subjects
Exh; Edmonton Art Club, and throughout Britain most noticeably in the Royal Scottish Academy and the Royal Scottish Society of Painters in Water-colours in Edinburgh, and the Royal Glasgow Institute. Royal Watercolour Society, The Royal Institute of Painters in Water-colours, Britain in Water-colour and the Royal Society of Marine Artists.

George RAFFAN ( Exh 1937-40) British landscape painter from Sussex.
Exh; RA 1, NEA 4, P1, RBA 3, ROI 4.

Cicely Brigit MARTIN. ASWA (1879-1947) born in Lambeth, London.
Exh 1899 – 1913 - 37 works; Painter in oil and watercolour of landscapes, figures and flowers.

Marie Olivia Hewson GUEST (1880-1966) Canadian, born in Nova Scotia. Studied under Spenlove 1913. Became one of Winnipeg’s most notable artists in the 1940’s painting watercolours.
Exhibited with the Royal Canadian Academy (1928), Women's International Exhibition (1928) and subsequently with the Ontario Society of Artists; Manitoba Society of Artists; Western Circuit; Two small-group shows in Winnipeg, Man.; Florida State Fair, U.S.A. at Tampa in 1952.

Henry Wellington WACK P. BsoA 1873 - 1955) (American) Born in Baltimore, Maryland.
Painted Landscapes in oils, Member of New York League of Painters
Became President of the Brooklyn Society of Artists. Works in Smithsonian American Art Museum

Morgan Alfred Thornley ABWS, NSA (1897 - 1965) Welsh
Landscape, coastal and marine subject painter in oils and watercolours, born in Cardiff. Exhibited BWS and provincially. Also exhibited extensively with the United Society of Artists.

Mary DICKINSON fl. 1935-1968 British Watercolour Artist - Flowers and Floral Paintings
Exh: NEA 1, P 3, RBA 1, RCA 4, RHA 1, ROI 4, RSA 5, SWA1.

Henry A. TRIER (British, 1877 - 1962) Landscape painter in Oils. Painted in France and Italy Exh 1925-29 - BAR 36, FIN 125

Joseph WEST BWS (1882-1930) British
Painter of watercolours, landscapes, animals and f scenes.
Exhibited at the RI 2, L 5, RCA 12, RWA, R.Cam.A, BWS

Bessie COOPER (Australian) miniature painter, landscapes and portraitist.
Exh; Victorian Artists Society 1906. Finalist Art Gallery NSW., Archibald prize, 1922-24

Olive Dutton GREEN ( 1878 - July 1930 ) Australian landscape artist working in oils and watercolours. Worked extensively in Brittany.
Exhibited in Adelaide, London & Paris. 1920-24 Member of the South Australian Society of Arts; Society of Women Artists 3; Royal Institute of Oil Painters.

Ethel Lucy ADAM. NSA. British (Exh 1919 –35)
Painted primarily landscapes ( Scotland) in oil and watercolour, but also became an accomplished stained glass designer. Exh; B1, D3, L4, RCA 16, RI. Elected member of the New Society of Artists in 1925.

Mary DICKINSON  British Fl.1930

Liverpool Artist - Painting Florals / Flower Paintings - Landscapes in watercolours.
Exh; NEAC, P, RBA, RCA RHA, ROI, RSA, SWA

Helen Sophia O'HARA (1846 - 1920)
Irish watercolour painter of Florals and landscapes

Mabel F GOOD (British) from Totnes Devon~

She Went on to write a book on oil painting under the pseudonym; Furze Walsh.

"How to paint in oil."

 A suicide pact saw her and her husband Alexander, take their own lives, bound together at the waist. They were found in the Thames above Teddington.

The Spenlove Art School - Tuition Fees etc.

 "The school year is divided into three terms, or sessions, of twelve weeks each.

  The 'Spring lessons' beginning on the second Monday in January, the 'Summer session' on the third Monday in April, and the 'Autumn session' on the fourth Monday in September.

 Classes for general painting and drawing, both elementary and advanced, are held on three mornings a week from 10 till 1 o'clock, for which the fees are four guineas a session.

Pupils drawing or painting from the living model, either draped or in costume, pay half-a-guinea extra for the term.

  The fees for the special landscape painting classes and landscape demonstration classes in the studio, which are held on Tuesday, Thursday, and Friday mornings from 10.30 to 1pm., and during the afternoon from 2.30 till 5pm., are as follows:

Per session of twelve weeks or twenty-four lessons, two mornings or two afternoons a week, £11.11s.
For a course of twelve lessons, two mornings or two afternoons a week, £6. 6s.
For a half course of six lessons, one afternoon a week, £3. 13s. 6d.

 The fees for special private demonstration lessons at the studio on " The Art of Picture Making," lasting for about an hour, are £11 for a course of twelve lessons, and £6. 6s. for a half course of six lessons, while the fee for a single private demonstration lesson is £2. 2s.
Lessons in landscape painting are also given by correspondence, for which the fees for a course of twelve criticisms is £5.5s., and Mr. Spenlove-Spenlove also gives special private lessons at his London studio;

The Corner House, 69, Addison Road, Kensington" 

The Outdoor Sketching Lessons in Eynesford.

Frank Spenloves Painting class in the Darrent Valley, Kent

A Sketching Class

 "The members of the Yellow Door sketching class meet at Victoria station soon after 11 o'clock, and on arrival at Eynsford, scatter throughout the village to spend the whole day studying out in the open.

  Each student picks out her own subject for a sketch, and sits down to paint it, while Mr. Spenlove-Spenlove strolls briskly from pupil to pupil to give each one a brief but most pertinent and illuminating lesson on the piece of work in hand before passing on to the next.

  The members of the class often range from finished artists, who are already successful exhibitors at the various picture shows of note, to young girls who are making their first tentative steps in the direction of landscape painting or sketching.

 Mr. Spenlove-Spenlove's keen interest and helpful enthusiasm over their work is the same for all, and the way in which he gives students confidence in their own powers and brings them on in their work is astonishing.

 Good lodgings are obtainable at Eynsford, and Mr. Spenlove-Spenlove's students often spend a month or two down there during the summer months, joining the outdoor classes two days a week, and working by themselves between whiles.

 The fees for the outdoor classes are £6. 6s. for twelve meetings, and £3.3. 6d. for six, and as the number of pupils joining each class is strictly limited, each one gets much individual attention."

© David Freeman: 2015

This is an ongoing project:

* The author is grateful to many of the members of Frank Spenlove-Spenlove's family for the valuable information and images they have supplied. This detail has enabled me to make this information about the artist much more reliable for students of art history and thus, for the enjoyment and appreciation of all.

Please contact us if you own or know of a student of the Spenlove School of art, or of details of a painting by Frank Spenlove- Spenlove that is not includedin the catalogued lists

We also seek more information on; Joyce Deighton Dixon

a former ex student and we believe, his studio assistant.

And the Irish born painter Helen Sophia O'Hara and  Mary Dickinson

<PLEASE  CONTACT US> IF YOU CAN HELP

Thanks to Mr William Forster for this Mary Dickinson floral image;

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