Draper did not become even an ARA, which I find somewhat surprising, given his long association with the RA, and the quality of his work. He was though, a member of The Royal British Colonial Society, whose President for a number of years was Thomas Gotch. Draper’s paintings are in public galleries throughout Britain, South Africa, and Australia. In the mythological subject area his paintings include, as well as ‘ Lament for Icarus,’ ‘Ulysses and The Sirens, The Kelpie, and The Vintage Morn.’ Herbert Draper had, in his lifetime, a considerable reputation, which declined rapidly, probably before his death. It is difficult to find much information about Draper the man, though it is a matter of record he attended the funeral of Waterhouse, his close neighbour, in 1917. His residence in St John’s Wood attests to his material success.

The Antique Collectors Club tell me that they will be publishing an art monograph about Draper in mid 2002. I look forward to it with interest. I will also be carrying out further research of my own.

Sources : Various, including ‘The Last Romantics,’ published by Lund Humphries. 
This book is quite simply a must have for any 19^th century enthusiast of English art. It is well illustrated and written, and the short biographies of the artists are quite simply wonderful, and give more accurate information than many longer articles. A book I return to again and again. The strongest possible recommendation.

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The following paintings are also included on this site :-
A Water Baby
The Sea Maiden
Lancelot & Guinevere
Flying Fish
The Gates of Dawn

2002 THE YEAR OF HERBERT JAMES DRAPER.

I initially became interested in Victorian art in the mid 1980s.When I first visited the Lady Lever Gallery about ten years ago I was struck by a beautiful, and  very large painting called “The Kelpie,” by Herbert James Draper. I had not heard of the artist at that time, but resolved to find out more about the man and his pictures when I could do so. Finding information about Draper has not been easy. He was not an Academician, or an Associate, and The Times did not consider him worthy of an obituary. Yet Draper was highly regarded in his lifetime. I suspect that his reputation suffered in the early 20^th century however, when so much wonderful art from the Victorian era was derided and ridiculed, and supplanted by works which lacked any recognisable merit, leading ultimately to the ludicrous situation we have today.

CONTEMPORARY COMMENT 1897 By A G Temple

Firm in contour, and with a brilliancy of colour, is Herbert J Draper’s work, especially that which has come more recently from his hand. “The Sea Maiden” of 1894, vigorous in action and cleverly composed in its various parts, was not wholly satisfactory, although its colour left little to be desired; but in the dark blue waters against the lustrous flesh-painting in “The Foam Sprite” of 1897, a splendid example was seen of free dextrous handling and the perception of the values of colour. This, and the “Calypso’s Isle” of 1897, are an astonishing advance upon all his former works in vivid grace and completeness of pictorial effect. Etty in his best days could scarcely do better in the depiction of the human form than is seen in the last named picture; a more experienced touch it may be, a greater fluency, as it were, of hue, might be discerned in Etty’s work, the result of incessant application to the nude, but not a daintier, more delicate expression of the shape and living warmth of a woman’s form.