George AFripp and Alfred DFripp . were frustrated by a prolongedstorm, and after delay at Leghorn, they left forTurin, crossed the Mont Cenis Pass and arrivedat Chamb6ry in Savoy on February 1st. Sollymade a slight inaccuracy in saying **thencrossing into Switzerland (sic) by the MontCenis Pass, they arrived at Chambery. Bydiligence, via Lyons, they reached Paris onFebruary 6th, and at once travelled back toEngland in very severe weather. To Fripps visit to the Continent withMuUer **may be ascribed part, at least, of thatfine sense of style and an unusual reticence andpurity of taste, which a
George AFripp and Alfred DFripp . were frustrated by a prolongedstorm, and after delay at Leghorn, they left forTurin, crossed the Mont Cenis Pass and arrivedat Chamb6ry in Savoy on February 1st. Sollymade a slight inaccuracy in saying **thencrossing into Switzerland (sic) by the MontCenis Pass, they arrived at Chambery. Bydiligence, via Lyons, they reached Paris onFebruary 6th, and at once travelled back toEngland in very severe weather. To Fripps visit to the Continent withMuUer **may be ascribed part, at least, of thatfine sense of style and an unusual reticence andpurity of taste, which a writer in The Athenceum^1896, had among others **so often admired inFripps exhibits in the gallery in Pall Mall. Let us now continue our artists career inEngland. In Sir Alfreds collection is one ofthe finest drawings executed by George Frippin the Bristol district. It is dated 1840, and isa large water-colour of Nightingale Valley^ LeighWoods, looking across the Avon to St. VincentsRocks and the Observatory, where the Bristol 20. 1 artist, Wm. West (1801-1861) lived from gambol on the rocks on the right, andbig stones are strewn about the steep, roughpath. (Fortunately that path is still rough, butthe rabbits have gone.) Trees on the left arelit up and yellowish by reason of the afternoonsun, darker on the right because in the shade ofthe high, rocky bank above, which is out of therange of the picture. The subject is verysimilar (but more pleasing because less square)to Samuel Jacksons St. Vincents Rocks fromNightingale Valley at the Victoria and AlbertMuseum, and reproduced in The Connoisseur,1926, p. 168. At that time Fripp showed someindication of his former masters characteristicrendering of massed trees. Careful study of catalogues, the dates ofcertain pictures, and the itinerary of Mullerand Fripp in 1834 shows that Fripp must havevisited the Alps, and especially Mont Blanc, theDents du Midi and Lake of Geneva at a laterperiod than 1834. This is confirmed by
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Keywords: ., bookcentury1900, bookdecade1900, bookidgeorgeafripp, bookyear1900
