CHARLES REUBEN RYLEY (1752-1798)

PUTTI BEARING FRUIT, WITH AN ARCHITECTURAL 
MODEL OF A CLASSICAL CITY BEHIND
Inscribed to mount in pencil Riley
Pen & ink with brush & grey wash
8.2 x 12.4 cm
 
 
 
 
 
Charles Reuben Ryley's (sometimes spelled and signed Riley) documented career as an artist begins with a premium he was awarded by the Society of Arts as a young teenager. He was admitted to the R.A. Schools in 1769, and was awarded a silver medal there in 17709. After completing his studies, he was employed by the Duke of Richmond for decorative painting at Goodwood, and for work at Merley House and in Ireland after this. The latter project was for Lady Louisa Lennox of Castletown House, the sister of the Duke of Richmond, and her husband Mr Thomas Connolly. The paintings he produced during this period are very much indebted to the popular prints of Ottaviani of the Vatican Loggie and various reproductions of classical frescoes in Rome and Naples. 
 
 
Upon returning to England in 1777, Riley became a pupil of John Hamilton Mortimer at the Royal Academy. His pupilage seems to have been greatly beneficial for the young Riley, who won the Academy’s gold medal in 1778 for his ‘Sacrifice of Iphigenia’. He began to exhibit at the RA from 1780 onwards, contributing works that were very much in the style of his teacher Mortimer. Sadly, his health apparently prevented him from working on the sort of large-scale history paintings with which he had shown great promise, and instead he specialised in small engravings for booksellers, produced various prints after Mortimer's drawings, and worked as a drawing teacher for a short period. The present work is likely an unrealised design for an engraving of the former type, and can be compared in composition, subject and format to 'A Design for the trade-card of the grocer and tea dealer William Barber' in the British Museum, London (reg. no. D,2.4263).
 
 
It is the pastellist John Russell’s notes on Riley’s life that provide what little we know of Ryley as a personality, beyond his exhibition record. Russell deemed him ‘a sweet spirited youth tho’ much deform’d in Body yet I hope his soul is upright in the Light of God - he is the son of one of the Life Guard Men…has acquainted me of several young artists who attend on the gospel.’ (1)
 
It seems that Riley may have been born with dwarfism, as Russell was not the only one to refer to his notably diminutive stature (Louisa Lennox always referred to him as ‘Little Riley’ in her correspondence with her brother). He died young as a result of his lifelong ill-health, and his will was witnessed by the sculptor John Bacon. He left numerous small bequests to his fellow artists, including Nattes, Skelton, Bowyer and Fittler.