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WilliamNicholson was born at Newark, Nottinghamshire and, aged sixteen, went to study with the well known artist Hubert von Herkomer.
In 1893 Nicholson married the painter Mabel Pryde and their first son Ben, born the following year, went on to become the famous painter and sculptor.
After 1900 Nicholson concentrated more on oil paintings and although he produced landscapes and still lifes he really established himself as a portrait painter.
Rolling lowlands, luxurious still-life objects, a lady lounging in a Whistlerian interior, and a snoozing pug are rendered with a fluent, bravura painterliness that belongs as much to a bygone age as the pastoral and urbane experiences it conveys.
Nicholson revels in the distortive reflections of necklaces and a louchely limp, turquoise glove in the concavity of the 18th-century vessel of the title (a prize Hester Bateman in the artist’s collection).
This lends scale to the otherwise near-abstractness of horizontals and verticals in the depiction of moon-drenched ripples and protruding rock exposed in the wet sand.
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