Samuel Courtauld (7 May 1876 – 1 December 1947) son of Sydney Courtauld (10 March 1840 – 20 October 1899) and Sarah Lucy Sharpe (1844–1906) was an English industrialist (great-nephew of textile magnate Samuel Courtauld) who is best remembered as an art collector. He founded the Courtauld Institute of Art in London in 1932 and, after a series of gifts during the 1930s, bequeathed his collection to it upon his death.
By the early 20th century, the Courtauld family business had become a major international company, having successfully developed and marketed rayon, an artificial fibre and inexpensive silk substitute. Samuel Courtauld took charge of the firm from 1908 as general manager and as chairman from 1921 to 1946.
Personal life
He was educated at Rugby School.
He became interested in art after seeing the Hugh Lane collection on exhibition at the Tate Gallery in 1917. However, his career as a collector started in 1922 following an exhibition of French art at the Burlington Fine Arts Club. Courtauld was one of the first collectors to display interest in French Impressionist and Post-Impressionist paintings. During the 1920s, he assembled an extensive collection including masterpieces by Vincent Van Gogh (Self-Portrait with Bandaged Ear) or (Peach Blossom in the Crau) previously owned by Anna Boch,[1] Édouard Manet (A Bar at the Folies-Bergère), Paul Cézanne (Montagne Sainte-Victoire) and Pierre-Auguste Renoir (La Loge). The core elements of his collection were accumulated between 1926 and 1930, though his passion dwindled somewhat following the death of his wife Elizabeth (known as Lil) in 1931. Samuel founded the Courtauld Institute with Viscount Lee of Fareham and Sir Robert Witt in 1930.
Samuel provided the bulk of the money for the founding of the Courtauld Institute. His wealth came from the textile business, but on both sides of his family there were connections with the arts and traditions of patronage going back several generations. Courtauld loved pictures and wrote poems about them. On the advice of Roger Fry and others he bought French Impressionists and Cézannes and took out a lease on the best Robert Adam house in London, Home House, 20 Portman Square, in which to display them - a novel and stunning combination. His example was emulated by his younger brother Stephen, who converted the medieval ruins of Eltham Palace into an Art Deco mansion. Samuel Courtauld was the real Maecenas of the trio, and when his wife died in 1931, he made over the house in Portman Square, together with the pictures, for the use of the new institute until such time as permanent accommodation could be found for them. In the event the Portman Square house was to be the institute's home for almost sixty years.[2]
Courtauld also created a £50,000 acquisition fund for the Tate and National galleries, helping lay the foundations of national collections of Impressionist and Post-Impressionist art.
Family
Samuel Courtauld married Elizabeth Theresa Frances Kelsey on 20 June 1901. The children from this marriage included:
- Sydney Courtauld (1902-1954) married Rab Butler.
- Augustine Courtauld (1904-1959) was an explorer, noted for his pioneering observations of the climate of the icecap of Greenland.[3]
Samuel's younger brother, Stephen Courtauld, was also an arts patron and is remembered for his work on restoring Eltham Palace
