6 February 2025 min Read
Stephen and Virginia Courtauld with their pet ring-tailed lemur Mah-Jongg depicted in: Leonard Campbell Taylor, At Forty-Seven Grosvenor Square, 1934. English Heritage. Detail.
In January 1889, after a heated argument with his friend Paul Gauguin that led him to cut off part of his left ear, Vincent van Gogh painted one of the most iconic self-portraits in the history of art, Self-Portrait with Bandaged Ear. Today, this is one of the many masterpieces exhibited in the Courtauld Gallery, founded in the 1930s by collectors and philanthropists on the belief that everyone should have the opportunity to engage with art.
The Courtauld family, descendants of Huguenot refugees settled in London, built up a successful silk, crepe, and textile business. Founded in 1794 by George Courtauld (1761–1823) under the name George Courtauld & Co, the company remained a family-run enterprise, passed down from father to son for decades. The company expanded quickly during the Industrial Revolution, owning three silk mills by the mid-19th century. This transformation allowed the business to evolve from a local operation into a key player in the textile industry, recognized both nationally and internationally. Unsurprisingly, over a century of success enabled the Courtauld family to build up significant wealth.
Illustration of power loom weaving from: Edward Baines, History of the cotton manufacture in Great Britain, 1835.
In the Courtauld family, one member stands out for his extraordinary contribution to the art world: Samuel Courtauld (1876–1947). As chairman of Courtaulds Ltd, he was a prominent industrialist and government advisor. As a philanthropist and art collector, he played a pivotal role in establishing the Courtauld Institute of Art in 1932. He also enriched Tate Britain’s and The National Gallery’s collections.
Samuel Courtauld in the mid-1930s. Museum’s website.
Samuel Courtauld’s passion for art began in 1917 when he saw the Hugh Lane Collection at the Tate Gallery. However, his collecting journey started in 1922 after attending an exhibition of French art at the Burlington Fine Arts Club. His wife, Elizabeth, deeply influenced the Courtauld collection, especially with her love for French modern art. She began their acquisitions in 1922 by purchasing Pierre-Auguste Renoir’s Woman Tying Her Shoe and Jean Marchand’s Saint-Paul, Côte d’Azur.
Samuel and Elizabeth’s passion for art knew no bounds. They traveled widely across Europe and America, meeting dealers, artists, and collectors. They often visited multiple exhibitions in a single day. Samuel embraced French Impressionist and Post-Impressionist art when many dismissed it as avant-garde or worthless. Proud of his independent taste, Samuel Courtauld built an impressive collection during the 1920s, featuring works by Van Gogh, Manet, Cézanne, and Renoir.
Pierre-Auguste Renoir, Woman Tying Her Shoe, c. 1918, Courtauld Gallery, London, UK.
Samuel’s brother, Stephen Courtauld (1883–1967), also left a significant mark on the arts. Along with his wife, Virginia, he led a life of glamour and philanthropy funding different kinds of projects. Their most notable achievement was the restoration of Eltham Palace, a former royal residence dating back to the medieval period to which they added an Art Deco extension. Between them, the Courtaulds created an artistic legacy that proved to be a major contribution to London’s art and architecture, and that would be enjoyed for decades after their deaths.
Elizabeth Courlauld’s death in 1931 marked a turning point for Samuel. While his passion for collecting art decreased, his dedication to the art world remained. In 1932, he channelled this commitment into a transformative project: the founding of the Courtauld Institute of Art. Together with Viscount Lee of Fareham and Sir Robert Witt, Samuel established an academic center devoted to improving the understanding of visual arts in Britain. United by a shared vision, they created a pioneering institution that combined scholarship with public engagement, providing a space to study art history and showcase Samuel’s collection.
Somerset House which houses the Courtauld Gallery, London, UK. Museum’s website.
Today, the Courtauld Gallery holds one of the most remarkable art collections in the United Kingdom. Built largely on the support of donations and bequests, especially from Samuel, the collection includes paintings, drawings, sculptures, and other works from the medieval period to modern day. It is particularly renowned for its exceptional French Impressionist and Post-Impressionist masterpieces. The collection boasts around 530 paintings and over 26,000 drawings and prints.
On the other hand, the Courtauld Institute is recognized as one of the world’s most prestigious institutions for the study of art history. It advances the way we see and understand visual arts through cutting-edge research, innovative teaching, conservation, and its inspiring gallery exhibitions. The institute also offers engaging activities, educational programs, and accessible events, ensuring its mission reaches a wide audience.
The Courtauld’s permanent collection features an extraordinary range of paintings, drawings, prints, sculptures, and decorative arts spanning from the Renaissance to the 20th century. The gallery is particularly renowned for its outstanding collection of Impressionist and Post-Impressionist art, showcasing works by Manet, van Gogh, Degas, Gauguin, Monet, Renoir, Seurat, Toulouse-Lautrec, and the most significant collection of Cézanne’s works in the UK.
But the collection doesn’t stop there. It also includes remarkable pieces from the Renaissance to the 18th century by masters such as Lucas Cranach, Rubens, Pieter Bruegel the Elder, and Sandro Botticelli. We invite you to discover some of the most iconic highlights of the Courtauld Gallery’s collection below.
Édouard Manet, A Bar at the Folies-Bergère, 1882, Courtauld Gallery, London, UK.
Édouard Manet, Banks of the Seine at Argenteuil, 1874, Courtauld Gallery, London, UK.
Vincent van Gogh, Self-Portrait with Bandaged Ear, 1889, Courtauld Gallery, London, UK.
Vincent van Gogh, Peach Trees in Blossom, 1889, Courtauld Gallery, London, UK.
Claude Monet, Antibes, 1888, Courtauld Gallery, London, UK.
Claude Monet, Autumn Effect at Argenteuil, 1873, Courtauld Gallery, London, UK.
Paul Cézanne, Montagne Sainte-Victoire with Large Pine, c. 1887, Courtauld Gallery, London, UK.
Paul Cézanne, The Card Players, 1892–1896, Courtauld Gallery, London, UK.
Henri Toulouse-Lautrec, In a Private Dining Room, 1899, Courtauld Gallery, London, UK.
Georges Seurat, Boat by the Riverbank, c. 1883, Courtauld Gallery, London, UK.
Pierre-Auguste Renoir, La Loge, 1874, Courtauld Gallery, London, UK.
Edgar Degas, Two Dancers on a Stage, 1874, Courtauld Gallery, London, UK.
Sandro Botticelli, The Trinity with Saints Mary Magdalen and John the Baptist, c. 1491–1494, Courtauld Gallery, London, UK.
Peter Paul Rubens, The Family of Jan Brueghel the Elder, c. 1613–1615, Courtauld Gallery, London, UK.
Pieter Bruegel the Elder, Landscape with the Flight into Egypt, 1563, Courtauld Gallery, London, UK.
Manet captures the lively atmosphere of the famous Parisian music hall, where he often sketched scenes of modern life.
Painted during a summer spent with Monet, this work blends Impressionist influences with Manet’s signature bold contrasts and rich blacks.
Van Gogh’s powerful self-portrait, painted after his infamous ear injury, reflects both his artistic genius and emotional struggles.
Inspired by Japanese prints, van Gogh depicts the Provençal landscape with vibrant colors and dynamic brushstrokes.
Monet captures the dazzling Mediterranean light, using vivid colors to contrast the sea, sky, and wind-swept trees.
Monet’s study of autumn colors, painted from his studio boat, highlights his mastery of light and texture.
Cézanne’s monumental view of his beloved mountain, framed by a sweeping pine, reflects his deep connection to Provence.
A timeless and monumental composition by Cézanne, depicting two farmworkers immersed in their card game.
Toulouse-Lautrec’s vivid portrayal of Parisian nightlife, featuring a high-class courtesan in a private dining room.
A small oil study for Seurat’s Bathers at Asnières, showcasing his delicate use of color and light.
Renoir’s theater scene contrasts the male gaze with the woman’s detached expression, emphasizing the spectacle of social life.
Degas offers an unconventional side view of ballerinas, possibly during a dress rehearsal, highlighting movement and staging.
One of Botticelli’s most important paintings in the UK, showcasing his mastery of religious composition.
A touching portrait by Rubens, celebrating family and his close friendship with Pieter Bruegel the Elder, his frequent collaborator.
Bruegel transforms the biblical journey into a vast, detailed European landscape, filled with symbolic and narrative elements.
Founded on the belief that everyone should have the opportunity to engage with art, the Courtauld is dedicated to the improvement of our understanding of the role of art throughout history, while promoting its relevance in the modern world. To achieve this, it organizes exhibitions that allow audiences to experience world-famous masterpieces up close, offers accessible expert-led short courses, and hosts events that bring research in art history to new and diverse audiences.
Through digital initiatives, innovative school, family, and community programs, the Courtauld seeks to expand access to art education. Its ambition is to transform the way art history is taught and experienced, broadening its scope and ensuring that as many people as possible have the tools to understand the visual world around us better.
The Courtauld Gallery exhibition view. Museum’s website.
The legacy of Samuel Courtauld and his family is a powerful example of the impact that vision and passion can have. Their deep belief in the universal value of art, paired with their unwavering commitment to collecting and sharing it, has left an enduring mark on the cultural landscape. Through their efforts, they not only preserved masterpieces for future generations but also transformed the way art is studied, appreciated, and experienced. Whether you’re an art lover or simply curious, a visit to the Courtauld offers a chance to admire some of the most iconic works of art and reflect on the legacy of those who dared to dream beyond their time.
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Javier is a journalist and cultural manager with a passion for art and its history. In his free time he loves reading and researching the lives of artists and their works. He loves everything related to the Middle Ages, the Italian Renaissance and the mysteries behind lost works of art.
Elizabeth Provost is a visual arts journalist, editor, and scholar of the Italian Renaissance based in New York City and Toronto. She is a PhD student at the Bard Graduate Center. Learn more about her on her website: www.elizabethprovost.com
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