British artist celebrated for his vibrant paintings of fruit and flowers, though he also produced historical scenes such as the prize-winning "Melancthon's First Misgivings of the Church of Rome"; some credit him with single-handedly reviving interest in still lifes, and no less than J.M.W. Turner called him one of the three great colorists of his age. Item #43764
ALS, 3pp (lettersheet), 4½" X 7", London, England, 21 November 1845. Addressed to "Sir" (Robert Vernon, Lance's best and earliest patron who collected many of his works and formed a collection that became the nucleus of the Tate Gallery, now Tate Britain). Very good. Mounting traces and small chip to blank fourth leaf. Gracious note boldly penned in brown ink helping a young fellow artist, reading in part: "The bearer of this note (Mr. Saddler) whose talent I think you will much admire, is very anxious to be hired as a labourer in the Vernon vineyard. He not only engraves but draws architectural subjects beautifully, and it struck me you might find him of assured value in getting out the pictures by Roberts...." On another (and sore) subject, the election to the Royal Academy that never came his way to the surprise of the London art critics, Lance writes: "Another year is passed over and your friendly remarks have not helped me at the Academy -- twelve years consecutive have I been a candidate -- My chief regret is that it looks like a dishonor placed upon this branch of art...." Some speculate that Lance was denied membership because of political differences with the establishment and a squabble over the "Royal Boar Hunt" by Velazquez at the National Gallery and Lance's role in restoring that painting. An excellent example with superb content showing Lance's advocacy of young talent and disappointment at rejection by his peers.