Recording Britain.
I mentioned in my previous post that, on the 2nd December 2019, I found some other artworks in that charity, British Red Cross in Shepherds Bush Rd. Among them there were two signed watercolours, both dated in years previous to the beginning of the First World War. The first artwork I will show here is “Richmond Castle and Bridge”. It is an original watercolour on paper signed by C. Gardner, and dated 1911. The painting captures a view of River Swale as it flows past Richmond Bridge (also known as The Green Bridge), with Richmond Castle in the background. Its dimensions are 240 x 140 mm.
Behind the frame, on the back cardboard there was a dedicatory note: “With Xmas Greetings. Xmas 19?”. There was also a written reference to the subject depicted: “Richmond Castle & Bridge”. The watercolour was a Christmas present. I'm not completely sure about the artist, but his signature is quite similar to that of painter Edwin Charles Gardner (1851-1931), as can be seen in the comparative below. Both signatures extend the exit strokes when lettering the "R", and in the calligraphy of the letters both signatures draw the characters in square capitals.
Broomfield Park (1903). Signature by Edwin Charles Gardner.
Richmond Castle and Bridge (1911). Signature by C. Gardner.
Edwin Charles Gardner's artwork has been auctioned several times since Sotheby's first auctioned one of his paintings in 2000. This artist, who worked in London between 1880 and 1903, has several artworks on display at the Enfield Museum, in Greater London. Some of his artwork can also be found in the painting collection of the Vestry House Museum, in the historic Walthamstow village, north-east London, a museum that houses works by local artists. In the image by C. Gardner the view of Richmond Castle from the river is depicted from a viewpoint almost identical to that of a painting by Cornelius Copner Wambey (1825-1916) entitled Richmond Castle, Yorkshire, and is also very similar to that of the paintings by Henry Charles Brewer (1866-1950), entitled Richmond Castle, North Yorkshire, Bathed in Sunlight, and James Levin Henry, entitled Richmond Castle(1877).
Richmond Castle, Yorkshire, by Cornelius Copner Wambey (1825 1916).
Richmond Castle and Bridge (1911) by C. Gardner.
Richmond Castle, North Yorkshire, bathed in sunlight, by Henry Charles Brewer.
Richmond Castle (1877), by James Levin Henry.
Founded by the Normans in 1071 this town in North Yorkshire grew up around the castle built on the 'riche-mont' or 'strong-hill' that gave the town its name, and whose massive keep dominates all other buildings around. The town is the first of all Richmonds.
It is also the subject portrayed in the second watercolour found, although this time it is entitled "Richmond Yorkshire from the River Swale". Here, the bridge depicted in the watercolour is the Mercury Bridge. The artwork is signed, although in initials of the artist's name in this case, CG (C. Gardner?). It is dated 1912. Its dimensions are 245 x 165 mm. Once again we find a dedicatory note written on the back cardboard:“With Xmas Wishes from John & Faith”. A Christmas present just a year later.
These two watercolours, and some others artworks that I found months later, which I will also talk about in this post, would be set within a historical context of growing curiosity about the history of Great Britain, and increasing appreciation of its landscapes and ancient buildings, an interest stimulated by literature and art. This new way of valuing the historical and artistic heritage enhanced the sense of nationhood. The idea of Britain as a nation had been promoted since 1707 with the Act of Union, which linked Scotland to England and Wales under a single parliament and a Protestant monarch, and that sense of unity had been heightened by wars and by the constant rivalry with France for trade and empire. The works by new writers and painters attracted tourists to the sites described in the books or depicted in the artworks. Years later, at the outbreak of World War II, a plan was established to employ artists on the home front. This plan was called "Recording Britain", choosing watercolour painting as the medium of record. This programme, an extension of the Official War Artists scheme, commissioned some of the finest watercolour painters in the country. Young artists were also invited and paid a small fee for each accepted artwork. The result was a collection of over 1500 watercolours and drawings of British landscapes at a time of imminent change. The aim of the scheme was to boost national morale by celebrating the country's natural beauty and architectural heritage.
Oxford was another spot frequented by artists. Just before the lockdown (16th March 2020) I found in a charity in Kensington High St, Oxfam Shop, an original watercolour portraying an ancient building, New College, Oxford, according to the title of the artwork. The painting was signed with initials, LPD (artist unknown), and dated 1904. Inscribed lower right was a name, "Charmion Maud?", and written back in ink was the title, “New College. 1386. LH?”, and the date, “Summer 1904”. A back label disclosed the provenance of the painting, "Hills & Rowney. 25, 27 and 29, George St., Oxford", and again the title, "New College. Hall. Oxford”.
According to the label, the painting shows a picturesque view of New College Hall, in Oxford. Despite its name, New College was founded in 1379, about 200 years after the University came into existence. It is one of the largest, most famous and architecturally striking English colleges, with beautiful gardens and a variety of modern and old buildings. New College Hall is the oldest dining hall in Oxford and Cambridge. Thankfully, the scene in real life remains the same today, as it is shown below, a century later.
The image captured by the artist is very accurate, as can be observed in the photo collage. Its execution is not that of an amateur painter. It was probably made by a professional watercolourist, or at least by a very skilled one, about whom we have no information. Only during the Victorian and Edwardian periods, that is, artists born in the 19th century who also painted in the early 20th, over 70,000 painters may have worked in Britain, most of them very obscure.
Many were the artists who visited Oxford trying to capture its architectural beauty. Among them all, probably was Joseph Mallord William Turner RA(1775-1851), the most famous artist. Regular visitor to Oxford since his adolescence, he was repeatedly called on to record its architecture in pictures intended for commercial reproduction. In Merton College, Oxford (c. 1835-89) Turner focuses on repairs taking place at the college.
Merton College, Oxford (c.1835–8) by Turner.
Following with our recording of Britain, I will now deal with an antique watercolour and brown India ink drawing on paper found at Portobello Road market on December 27, 2019. It's unsigned, and entitled "Higher Hodder Bridge. ‘River in Spate’". This title was written in ink in the mount. The date of the artwork is unknown, probably 19th century, based on the technique used. Its size is 190 x 115 mm (paper 230 x 150 mm). Its provenance is probably connected to some antique shop that closed down, before the artwork found its way to Portobello Road. The picture shows a view of River Hodder and Higher Hodder Bridge in Great Mitton, Ribble Valley, Lancashire.
The technique used in this kind of watercolour consisted in carefully drawing the subject in a precise and delicate pen line, in which the main masses of light and shadow were washed in Indian ink or watercolour, through a very limited scheme of tones that consisted mainly of earthy, bluish and greenish, ochre and grey tones, using the coldest tones to highlight the distance and the sky, and brown and brownish yellows for the foreground. It should be remembered that these drawings were often conceived as preparatory studies for the engraver to work from, and that his task would have been made much more difficult if he had to translate the tonal values of a complete color scheme into black and white. However, despite their more modest artistic purpose, these types of drawings offer a special charm that is worth valuing.
Among the artists who portrayed Great Mitton was again J. M. William Turner. His Yorkshire sketchbooks with graphite drawings produced in Ribble Valley, Great Mitton and along River Ribble in 1816 are now part of the Tate Collection.
A Two-Part Panorama of the Ribble Valley from Great Mitton: Ribble Valley, the River Ribble, and a Detail of the Church; Mitton Hall, a View of Clitheroe and Pendle Hill. 1816. Part of Yorkshire 2 sketchbook. Dimensions: (Support) 154 x 96 mm. Tate.
Not far from this location we find Kirkby Lonsdale. We know that J. M. William Turner painted there, too. One of his beautiful watercolours is entitled Kirkby Lonsdale Churchyard. Here he painted the lyrical English landscape of the River Lune from the churchyard of St Mary's in Kirkby Lonsdale, with a group of children playing in the foreground. John Ruskin (1819-1900) wrote about this view: “I do not know in all my own country, still less in France or Italy, a place more naturally divine, or a more priceless possession of true "Holy Land”. The view is now known as 'Ruskin's View'.
This style of composition with natural landscapes, architectural sights and children playing in the foreground became very popular. On the same day as the Hodder Bridge artwork I found a couple of antique drawings at Portobello Road market.
The first one has no title, nor is it signed. The picture looks like a view of Devorgilla Bridge over river Nith, with the Old Bridge House on the left, dating from 1660, the oldest house in Dumfries, and the caul or weir on the front right, which was used to drive the town's watermills. In the drawing, as in the Devorgilla Bridge, the first arch on the left is Gothic, different from the rest of the arches, since it is all that remains of the second bridge. The current Devorgilla Bridge was built around 1620 on the foundations of its predecessors, replacing a 15th century version, also in stone. Tolls were charged for crossing.
The historic town of Dumfries, the Queen of the South, is the largest town in South West Scotland. Dumfries was home to J. M. Barrie, the creator of Peter Pan, when he was in his early teens. At the heart of Dumfries is the River Nith, with fishermen often seen in its waters or on the shore, as in this drawing probably made in the 19th century.
Not far from Devorgilla Bridge, just 300 metres following the banks of River Nith along Mill Road, is the Robert Burns Centre, devoted to the life and work of the great Scottish poet. Also nearby, but following the opposite bank of the river, is the Robert Burns Mausoleum, and also the house where he lived and wrote his famous poem Tam o'Shanter, set in the Scottish town of Ayr. It is hard not to smile at the memory of those opening lines:
When chapmen billies leave the street,
And drouthy neibors, neibors meet,
As market days are wearing late,
An' folk begin to tak the gate;
While we sit bousing at the nappy,
And getting fou and unco happy,
We think na on the lang Scots miles,
The mosses, waters, slaps, and styles,
That lie between us and our hame,
Where sits our sulky sullen dame.
Gathering her brows like gathering storm,
Nursing her wrath to keep it warm.
.jpg)
Children playing in a pond by a castle (Herstmonceux Castle). Artist unknown.
Our second drawing shows children playing with a little toy boat on the pond surrounding a castle, in what looks like a view of Herstmonceux Castle in East Sussex, while in the background other children are bathing in the pond. The drawing also looks like it was made in the 19th century, perhaps by the same artist. Like the previous one, it is not signed or titled, and its provenance is unknown, perhaps an old antique shop that closed, and the remaining prints and drawings eventually found their way to Portobello Road market.
Herstmonceux Castle in East Sussex.
In those days, at another stall in Portobello Road Market, I found a pastel drawing made on sandpaper. Unlike the previous ones, this pastel looked modern, and was signed and titled, "Vine Cottage, Cropthorne", by Christine (Amelia) Mallion. The drawing depicts an old Tudor-style house still standing in the Cotswolds. The label attached to the back of the frame contained the artist's details, "Christine (Amelia) Mallion. 28 Goddington Lane, Orpington BR6 9DS, Kent", as well as her telephone number.
In this painting Mallion depicts an old English country cottage in Cropthorne, Worcestershire. Mallion is an artist who is aware of the cultural and architectural heritage, and of the changes that rural villages are undergoing, with their continual adaptations to modern life. Today, Vine Cottage has been renovated and converted into a home with all the modern luxuries, while retaining the architectural style.
Christine Mallion is a British artist, member of the Bromley Art Society, and with a certain international recognition, especially in France. In one of the newsletters of this artists' society, "Douzens Revisited" (24 July 2008), Mallion describes his recent trip to the region of Carcasson, in the South of France, to exhibite and paint the area, a description that somehow brings light to the purpose of our artwork:
“Some of you may remember that I wrote about my time spent in the South of France and having been invited to exhibit in the local Art Exhibition. Well, I can report that once again I exhibited in early June. Because my pieces are all local, the villagers, although not rushing to buy, are clearly delighted to see that I am recording their area. In the artist’s eyes worn and shabby can be seen as beautiful and I am aware that things are changing, being renovated and refurbished. I am recording things as they have been but change can be seen.
Buildings used for the wine trade are gradually being taken over as their use changes.The Butcher’s shop was due to close in early summer. I painted it with its 1960s shop window implanted on a very ancient building. Surprisingly this painting sold and also many of my cards, which some people are beginning to collect.
Two of my paintings were bought by Canadians who are renovating what was known as ’La maison de Termites’. (...) Later in September some friends called on the way to Carcasson. There the new proprietor in the ‘Marche Brittanique’, a shop aimed at tourists and Brits. who live in the area, told them that she would be interested to meet me and see my work. I went to see her amidst a cloud burst, the first rain for two months, and a very crowded town with claxons sounding out, etc. - the taxi drivers and pompiers were on strike. I parked by the Canal du Midi and in a few minutes was in the shop. There, Ann the proprietor, immediately bought all the cards I had with me and a few days later came to see my paintings in Douzens. She was very enthusiastic and took nine paintings to have as a display for the Christmas period.
After she left I felt quite bereft and my high white walls were very bare. So, what now? I’m realistic. When I return this year it would be reassuring to have sold at least one but at least they are there for the public to enjoy, I must now work hard scanning and printing my art work for more cards. I forgot to say that a local gite also sells my cards. Perhaps you are interested to know if I work plein air. Yes, I prefer to go on my bike, also I use my digital camera, which is such a boon. As I paint, people open their windows and greet me. This Autumn the streets had the rich smell of fruity wine because it was the the season of the vendage (grape harvest). The countryside yielded tasty snacks of grapes missed by the machines, almonds and walnuts, although the figs were finished. I made my fig jam in early August.
The textured buildings with red shutters often huddled together continue to inspire me. Walking, cycling, motoring, all is a joy in this unspoilt area. I’m only sorry I missed the glorious colours of the vines as they turn to all colours including deep crimson. Each vineyard and vine has a different colour. The area that I refer to is Aude, South of Carcasson. Another piece of cultural news, I’ve joined the choir! Christine Mallion”.
http://bromleyartsoc.org.uk/book/douzens-revisited
And after the lockdown, on June 26, 2020, I found an old original watercolour entitled 'Thorverton', and signed by artist Harry Lariwrigth (c. 1910). St. Thomas of Canterbury, in Thorverton, is a parish church with a historical value that is located in the Devon village.
In my next post I will talk about the other artworks I found along with the Gardner's watercolours, two wonderful etchings by a well-known Royal Academician.
Comentarios
Publicar un comentario