Sir Robert Ponsonby Staples, 12th Baronet of Lissan and Faughanvale (1853-1943), was a notable Irish painter whose career spanned the late Victorian and Edwardian periods into the early 20th century. An artist of considerable talent and diverse interests, Staples became particularly recognized for his portraiture and his ability to capture the essence of the society in which he moved. Often dubbed a "social artist" and "social recorder," his work provides a fascinating window into the customs, personalities, and environments of his time. From the bustling art scene of London to the ancestral demesne of Lissan House in Ireland, Staples' life and art reflect the transitions and traditions of a changing world.
Early Life and Artistic Awakening
Born on June 30, 1853, in Spondon, Derbyshire, England, Robert Ponsonby Staples was the son of Sir Nathaniel Alexander Staples, 10th Baronet, and Elizabeth Lousia Staples (née Head). Though born in England, the Staples baronetcy was an Irish one, with deep roots in County Tyrone. This dual heritage would inform his life and, to some extent, his artistic perspective. His early education took him abroad, a common practice for families of means seeking a broad cultural grounding for their children.
At the young age of twelve, Staples was sent to Louvain (Leuven) in Belgium, where he initially studied architecture at the university college. This foundational training in architectural principles likely honed his sense of structure, composition, and spatial awareness, skills that would prove beneficial in his later painting career. However, his true passion lay in the visual arts, particularly painting.
Following his time in Louvain, Staples pursued formal art training. He moved to Dresden, Germany, a city renowned for its rich artistic heritage and excellent academies. There, he enrolled at the Fernand Art School, immersing himself in the rigorous academic traditions of German art education. This would have involved extensive drawing from casts, life drawing, and the study of Old Masters. To further broaden his artistic horizons, he also spent time studying at the Brussels Academy, another significant centre for art education in Europe, known for its blend of traditional techniques and emerging modern sensibilities.
This comprehensive European artistic education equipped Staples with a strong technical foundation and exposed him to various artistic currents. By the time he was ready to launch his professional career, he possessed a versatile skill set and a keen observational eye.
Launching a Career: London and the Royal Academy
In the early 1870s, Robert Ponsonby Staples made his way to London, the vibrant epicentre of the British art world. It was here that aspiring artists sought recognition and patronage. His talent soon gained notice, and in 1875, at the age of just twenty-two, he achieved a significant milestone: his work was accepted for exhibition at the prestigious Royal Academy of Arts. The Royal Academy Summer Exhibition was, and remains, a crucial platform for artists, and a debut there was a significant step towards establishing a reputation.
The art scene in London during this period was dynamic and multifaceted. The Royal Academy, under presidents like Sir Francis Grant and later Lord Frederic Leighton, largely championed academic art, emphasizing historical subjects, grand portraiture, and meticulously finished canvases. Artists like Sir Lawrence Alma-Tadema, with his detailed depictions of classical antiquity, and Sir Edward Poynter, known for his historical and mythological scenes, were prominent figures.
Staples' early works likely reflected the prevailing tastes, demonstrating his academic training while hinting at his burgeoning skill in capturing likenesses and social nuances. His acceptance at the Royal Academy marked his entry into the professional art world and set the stage for his development as a sought-after painter.
The Society Portraitist and "Bare Ponsonby"
After a period that included further travel and artistic development, Robert Ponsonby Staples returned to London in the 1880s, where his career truly began to flourish, particularly in the realm of portraiture. He became known for his ability to capture not just the physical likeness of his sitters but also their character and social standing. This was the era of the society portrait, and artists who excelled in this genre, such as the American expatriate John Singer Sargent with his dazzling brushwork and psychological insight, or James McNeill Whistler with his more aesthetic and tonal approach, were in high demand.
Staples moved within influential social circles. He was notably part of the "Marlborough House Set," the lively and fashionable group surrounding Albert Edward, the Prince of Wales (later King Edward VII). This connection provided him with access to a wealthy and aristocratic clientele, eager to have their portraits painted by a skilled and socially adept artist. His charm and artistic talent made him a welcome figure in these elevated spheres.
An amusing anecdote from this period earned him the nickname "Bare Ponsonby." According to accounts, he once attended a costume ball so scantily clad that the Prince of Wales himself quipped, "Staples, you are naked!" The nickname stuck, hinting at a somewhat bohemian or unconventional streak beneath the polished exterior of the society painter. This blend of establishment connections and a touch of artistic eccentricity likely added to his appeal.
His portraits from this era would have depicted the leading figures of society – aristocrats, politicians, beauties, and men of influence – all rendered with a sensitivity to detail and an understanding of the conventions of status representation. He was, in essence, chronicling the faces of an elite world.
The Grosvenor Gallery and Wider Artistic Connections
While the Royal Academy remained a central institution, the late Victorian period also saw the rise of alternative exhibition venues. One of the most significant was the Grosvenor Gallery, founded in 1877 by Staples' cousin, Sir Coutts Lindsay, and his wife Blanche. The Grosvenor Gallery quickly became associated with the Aesthetic Movement and artists who felt constrained by the more conservative tastes of the Royal Academy.
Artists like Edward Burne-Jones, with his dreamy, medievalist visions, Walter Crane, a versatile artist and illustrator, and James McNeill Whistler, whose "Nocturnes" and "Arrangements" challenged conventional notions of painting, found a sympathetic venue at the Grosvenor. Staples' connection to Sir Coutts Lindsay naturally brought him into the orbit of this gallery and its associated artists. While Staples himself may not have been an avant-garde radical, his involvement with the Grosvenor Gallery indicates a breadth of artistic interest and an openness to different currents in the art world.
He continued to exhibit widely, not just at the Royal Academy and potentially the Grosvenor, but also at other venues. For instance, his work Souvenir of the Century, a collection of portraits depicting one hundred prominent men and women of the time, was exhibited at the Graves Gallery. This ambitious project further solidified his reputation as a "social recorder," an artist keen on documenting the notable personalities of his age. Such a project would have required immense dedication and a vast network of connections.
Notable Works and Artistic Style
Robert Ponsonby Staples worked in both oil and watercolour, demonstrating proficiency in each medium. His style was generally characterized by a refined realism, a keen eye for detail, and a sensitive handling of light and colour. He was particularly adept at capturing the textures of fabrics, the nuances of facial expressions, and the overall atmosphere of a scene.
Among his representative works, several stand out:
_Nicholas Soyer Demonstrating his Cooking Techniques_ (1911): This painting is a fascinating example of Staples' ability to capture a moment of social and cultural interest. Nicholas Soyer, a renowned chef (son of the even more famous Alexis Soyer), is depicted giving a public cooking demonstration, likely in Northern Ireland, given Staples' later connections. The work showcases Staples' skill in group portraiture and genre scenes, capturing the engagement of the audience and the focused expertise of the chef. It’s a lively piece that documents a specific event and personality.
_At the Seaside_: While specific details of this work's composition are less widely documented without viewing it, the title evokes the popular Victorian and Edwardian pastime of seaside holidays. One can imagine a scene populated with figures enjoying the coastal air, perhaps reminiscent of the bustling beach scenes painted by artists like William Powell Frith (e.g., Ramsgate Sands), though Staples' approach might have been more intimate or focused on specific individuals. Such a work would highlight his ability to capture leisure and social interaction.
_A Ride in the Park_: This title suggests a scene of equestrian activity, likely set in one of London's fashionable parks like Hyde Park, where riding was a key social ritual for the upper classes. Such a painting would offer Staples the opportunity to depict elegant figures, horses in motion, and the verdant backdrop of a park, again reflecting his role as a chronicler of society's pursuits. This work was notably exhibited at the Richard Green Gallery in London at a later date, indicating its enduring appeal.
_Picking Berries in the Woods_ and _Staples Robery Ponsonby Earls Court 1900 watercolor and bodycolor_: These titles suggest a broader range of subjects, including more rustic or informal scenes, and specific topographical or event-related works. The Earls Court piece, likely a watercolour heightened with bodycolour, might document an exhibition or event held at that famous venue, showcasing his versatility.
His portraiture, the cornerstone of his reputation, was praised for its likeness and characterization. He aimed for a sophisticated representation, often imbuing his sitters with an air of quiet dignity or lively intelligence. His brushwork, while not as flamboyant as Sargent's, was confident and descriptive, and his palette was typically harmonious and pleasing. He understood the importance of pose, costume, and setting in conveying the status and personality of his subjects, much like his contemporaries Philip de László or Sir John Everett Millais in his later portrait career.
The Irish Connection: Lissan House and Later Years
Despite his successful career in London, Sir Robert Ponsonby Staples maintained strong ties to his family's Irish heritage. In 1909, he inherited the baronetcy, becoming Sir Robert Ponsonby Staples, 12th Baronet, upon the death of his elder brother, Sir John Molesworth Staples. His other elder brother, Sir James Head Staples, the 11th Baronet, had suffered from ill health and was unable to fully manage the family estate, Lissan House, near Cookstown in County Tyrone.
In 1911, Sir Robert decided to settle at Lissan House. This move marked a new chapter in his life, connecting him more directly with the land and responsibilities of an Irish landowner. Lissan House, a sprawling country mansion with a history stretching back to the 17th century, became his home and undoubtedly a source of artistic inspiration. The Irish landscape, its people, and the life of a country gentleman would have offered new subjects for his brush. This period might have seen him engage more with the Irish art scene, which included figures like Walter Osborne, known for his plein-air scenes and sensitive depictions of Irish life, Nathaniel Hone the Younger, a distinguished landscape painter, and later, artists like Sir William Orpen and Sir John Lavery, who also achieved international fame as portraitists with strong Irish roots. Jack B. Yeats, though stylistically very different, was another towering figure in Irish art of the period.
However, the early 20th century was a challenging time for many landed estates in Ireland. Economic changes, land reforms, and political upheaval impacted the traditional Anglo-Irish gentry. Lissan House, despite its grandeur, faced increasing financial difficulties. By the time of Sir Robert's death, the estate was reportedly near bankruptcy.
Sir Robert Ponsonby Staples passed away on October 18, 1943, at the age of 90. He had lived through a period of immense social, political, and artistic change. His life as an artist was intertwined with the fortunes of his family and their ancestral home.
Legacy and the Fate of Lissan House
Sir Robert Ponsonby Staples left behind a body of work that, while perhaps not revolutionary in the context of modernist art movements, provides a valuable and skilled record of his era. His portraits capture the likenesses of many individuals who shaped late Victorian and Edwardian society, and his genre scenes offer glimpses into their lives and pastimes. He was a craftsman of considerable ability, upholding the traditions of academic painting while engaging with the social fabric of his time.
The fate of Lissan House is a poignant epilogue to the Staples family story. After Sir Robert's death, the estate continued to face challenges. However, in a remarkable act of generosity and foresight, the last resident of the house, Hazel Dolling (née Radclyffe, a descendant of the Staples family through marriage), gifted Lissan House and its surrounding parkland to a charitable trust, the Lissan House Trust, in 2006. Her wish was for the estate to be preserved and opened to the community, serving as a tourist attraction and a testament to the history of the Staples family and their "eccentric and colourful" lives. Today, Lissan House stands as a monument to a bygone era, and within its story, the artistic contributions of Sir Robert Ponsonby Staples hold a significant place.
His participation in an exhibition on early Australian outdoor painting with a Peter Walker, as mentioned in some records, suggests a wider range of artistic interests or connections than is commonly documented, perhaps reflecting the global reach of the British Empire and its cultural exchanges, or simply a specific curatorial theme he was invited to join.
In conclusion, Sir Robert Ponsonby Staples, Bt., was more than just a baronet who painted; he was a dedicated professional artist who navigated the complex art world of London, achieved recognition for his skill, particularly in portraiture, and left a visual legacy that reflects the society and era he inhabited. His life, bridging England and Ireland, society circles and ancestral estates, offers a rich narrative of an artist deeply embedded in the cultural tapestry of his time.
