Arthur Croft Mitchell, The Orange Dress – 1920s oil painting
Arthur Croft Mitchell, The Orange Dress – 1920s oil painting
Arthur Croft Mitchell, The Orange Dress – 1920s oil painting
Arthur Croft Mitchell, The Orange Dress – 1920s oil painting
Arthur Croft Mitchell, The Orange Dress – 1920s oil painting
Arthur Croft Mitchell, The Orange Dress – 1920s oil painting
Arthur Croft Mitchell, The Orange Dress – 1920s oil painting

Arthur Croft Mitchell The Orange Dress

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An original 1920s oil painting – Arthur Croft Mitchell, The Orange Dress.

A stunning large-scale decorative work by the English artist Arthur Croft Mitchell (1872–1956). The painting, titled 'The Orange Dress', shows a beautiful young woman in 1920s dress sitting on high above a coastal backdrop, bathed in soft warm light.

The model in the painting is likely the artist's new wife, Evelyn Violet Ware (known as Molly), who was fourteen years his junior and became his enduring muse. The couple married in 1926, and that same year both husband and wife painted views at Ragusa, Sicily. Was this clifftop precipice also inspired by Sicily's dramatic coastline?

The painting embodies an Art Deco aesthetic, drawing on classical references, in the geometric stone plinth, and also art historical allusions—with Mitchell's languid muse Venus-like against the ocean vista and bearing more than a passing resemblance to Vermeer's turbaned Girl with a Pearl Earring.

Mitchell was particularly known for his portraits and psychologically charged interiors, and had great admiration for Vermeer. He was taught at the Slade by Philip Wilson Steer (1860–1942), whose impressionistic style was an influence, and 'The Orange Dress' can be seen to be within the context of Steer and James McNeill Whistler (1834–1903) who both depicted young ladies at leisure and used the sitter's dress as the painting's name. In doing so the painting is not so much a portrait as a meditation on aesthetics, colour and form. Mitchell's painting is also monumental in scale, another device that takes the work into the realm of decorative mural.

Oil on canvas in a substantial period gilt frame.

+ Read the Artist Research

Arthur Croft Mitchell (1872–1956)

Arthur Croft Mitchell (1872–1956) was born in Birmingham to Manoah Mitchell, a wealthy linen draper, and Fanny Croft. His maternal grandfather was the church architect John Croft, and his uncle was the successful landscape painter Arthur Croft (1828–1902), who greatly encouraged his talent for drawing.

In 1898, Mitchell enrolled at the Slade School, where he studied under Frederic Brown, Henry Tonks and Philip Wilson Steer. Fellow students included Harold Gilman, William Orpen, and the portrait photographer Charles Beresford. Augustus John, who graduated the year before, was also a regular visitor. Arthur then spent two years at the Académie de la Grande Chaumière in Paris's Montparnasse district, where he came under the direct influence of the Impressionists and exhibited in the Paris Salon.

Once he had returned from Paris, Mitchell based himself in London's Chelsea and satisfied his romantic nature painting large canvases on themes such as Arthurian myth. Inspired by his love of Vermeer, he also specialised in interior scenes, and he exhibited at the New English Art Club, the Royal Academy Summer Exhibition and the Paris Salon.

In 1913, Mitchell built a grand townhouse with a studio, Vale End, at 32 Mallord Street, Chelsea, where he lived for the next forty-two years. During World War One he was called upon to assist at the Foreign Office, and worked for a time as a temporary ministerial secretary in Copenhagen. The War took its toll on his eyesight and following his return to full-time painting in 1920, he produced predominantly landscapes and still lifes.

Around this time he met Evelyn Violet Ware (known as Molly) at Chelsea Arts Ball; they married in 1926 and settled into life at Vale End together. The portrait artist Augustus John moved in next door. They couple went on to have two children, Colin Ware Mitchell (1927–2015) and the archaeologist Terence Croft Mitchell (1929–2019). The family also spent time at the country house of Mitchell's parents, Madeira House, Wadhurst, Sussex.k

COA
+ Artwork Details

Dimensions: Height: 92.5cm (36.42") Width: 67cm (26.38")

Presented: In a substantial period gilt frame. Image size: 75 x 50cm; Frame size: 92.5 x 67cm.

Medium: Oil

Age: Early 20th-century

Signed: No.

Inscribed: No.

Dated: --

Condition: Overall in good condition, with bright, clean colours. There is some slight rippling to the canvas and minor craquelure, with a small patch of flaking to the paint in the foliage towards the upper left corner. Some wear and scratches to the outer edges of the gilt frame, with loss to the gesso at the upper left corner; the impression face-on is nevertheless good. Please see photos for detail.

Stock number: KC-978