Artist and art connoisseur.
Charles Fairfax Murray
1849 - 1919
This person is the subject of ongoing research. We have started by researching their relationship to the enslavement of people.
Biographical notes
Slavery connections
No known connections with slavery.
Abolition connections
No known connections with abolition.
Bibliography
anon., 'Murray, Charles Fairfax', in J. Turner et al. (eds), Grove Art Online, Oxford 1998-, https://doi.org/10.1093/gao/9781884446054.article.T060504
Checked and found
— Item on publisher's website
J. F. Codell, 'Murray, Charles Fairfax', in C. Matthew et al. (eds), Oxford Dictionary of National Biography, Oxford 1992-, https://doi.org/10.1093/ref:odnb/62465
Checked and found
— Item on publisher's website
History of Parliament Trust (ed.), The History of Parliament: British Political, Social & Local History, London 1964-, https://www.historyofparliamentonline.org/
Checked and not found
— Item on publisher's website
UCL Department of History (ed.), Legacies of British Slave-ownership, London 2020, https://www.ucl.ac.uk/lbs/
Checked and not found
— Item on publisher's website
Paintings previously owned by Charles Fairfax Murray
(Showing 6 of 13 works)
We do not know this man’s identity. He wears a black pleated silk doublet with pleated sleeves, and a soft black cap, possibly made of felted wool, with black knotted braids at the edges. His white chemise with ruffled collar and cuffs is tied at the neck with a black ribbon. The costume suggests...
Not on display
Possibly by Michiel Nouts
This very large painting was cut in half sometime before 1900. In 1915, the halves were rejoined in the National Gallery and some missing portions replaced.The way the family is grouped, with clear division between male and female, is significant. Father and son are together. They turn towards ea...
Not on display
This picture is made up of fragments from a circular painting (tondo) that was originally part of a ceiling decoration. It was commissioned in 1524 by Alfonso d’Este, Duke of Ferrara, for his castle in Ferrara. Originally it had five figures. The other surviving fragment, Boy with a Basket of Flo...
Not on display
Christ kneels before his mother to ask for her blessing as he prepares to leave and follow his destiny. He is robed in white against the blueish landscape, his pose conveying a sense of delicacy and stillness. The Virgin Mary swoons, her face and hands drained of colour – she knows that her son i...
Pietro Lorenzetti and Workshop
In the 1330s the Sienese city council commissioned four altarpieces showing scenes from the life of the Virgin Mary, the city’s protector, to decorate the cathedral. This panel by Pietro Lorenzetti, one of the city’s most important artists, comes from the altarpiece dedicated to the birth of the...
On display elsewhere
There is a swagger, even an arrogance, in the bearing of this man who meets our eye so directly and seems so at ease with himself. This is a self portrait, and going by what his contemporaries said about the artist – Jan Lievens – we shouldn’t be surprised at his self-confident air. An English am...
Not on display
The Archangel Gabriel announces to the Virgin Mary that she will conceive the Son of God; she holds a Bible open at words from the prophet Isaiah which echo Gabriel’s: ‘Behold a Virgin shall conceive and bear a son...’The conception takes place at the moment she hears the words, which is why a ti...
On display elsewhere
Christ is shown resurrected after dying at the Crucifixion, his triumph over death reinforced by the way he cradles the Cross on which he was crucified. His body is weak and pale – we can see his ribcage, and his cheekbones stick out of his gaunt face. The focus of the image is the wound in Chris...
Possibly by Francesco Botticini
Christ is shown nailed to the Cross at his crucifixion, flanked by the two thieves who were crucified alongside him. His mother, the Virgin Mary, and his disciple John (known as the beloved disciple) stand at the foot of the Cross.The panel comes from the predella, which was the lowest part of an...
Not on display
This painting is from the back of the predella (the bottom tier) of Duccio’s Maestà – a double-sided, five-tiered altarpiece made for the high altar of Siena Cathedral.It shows Jesus healing a blind man, an episode told in John’s Gospel. Jesus is shown wiping a mixture – made from mud and his own...
On display elsewhere
This little painting for private devotion was almost certainly painted for the Olivetan monk who is being presented to the Virgin Mary and infant Christ by Saint Peter. Saint Catherine of Siena stands on the Virgin’s left. The two little keys hanging just below the monk’s elbow are cleverly echoe...
Not on display
This is a rare example of a work by Niccolò di Buonaccorso – one of the most gifted Sienese artists of the fourteenth century. The panel belongs to a series of three: the others show the Virgin as a child in The Presentation of the Virgin (Uffizi, Florence) and The Coronation of the Virgin by Ch...
The Virgin with the Christ Child on her lap is flanked by two saints. On the left is an old bearded man, possibly Saint Jerome; he wears a ragged white robe tied around his waist with a belt made of a twisted olive branch. On the right is a younger man in the grey habit of an observant Franciscan...
Not on display
You've viewed 6 of 13 paintings