The well known miniature portrait of Matthew Flinders, which can be seen among other places on the cover and page 4 of 'Matthew Flinders - The Ultimate Voyage' (State Library of New South Wales 2001), has not been attributed to a particular artist. It is described as a watercolour on ivory 'retained by Ann Flinders when Matthew left England in July 1801'.
In 'My Love Must Wait : The Story of Matthew Flinders' by Ernestine Hill (Angus & Robertson 1971) we are advised on p 215 : "The commander sat for his miniature to the nineteen year old Westall". No source is given in this historical romance for the attribution and William Westall is possibly the artist; he did a few portraits during his career although no miniature by him his known. However a more likely candidate is Richard Westall. Farington notes on June 17, 1801 that Richard Westall "left his Brother on board on board the Ship ('Investigator') at Portsmouth", when an opportunity to paint a miniature would have presented itself. From the Flinders Papers at Melbourne Public Library Rex Reinits (p85 'Early Artists of Australia' (Angus & Robertson 1963)states that "He (Richard Westall) and Flinders apparently got on well". Richard had been trained as a miniaturist and several miniatures by him are known, among them being one of the Spencer children. I think he is more likely to have been the artist who executed the small profile of Flinders. He was keen to oil the wheels of William Westall's appointment as landscape artist for the voyage and clearly Flinders would appreciate having a portrait done of him to give to his wife before his departure.
Ernest Scott in 'The Life of Matthew Flinders'(1914, reissued 2001) suggests this miniature was in the possession of Mrs Flinders in 1814 when it was used for an engraving by Blood which appeared in the 'Naval Chronicle'.
When I wrote to Richard Walker, who was responsible for the Regency Catalogue at the Archive of the National Portrait Gallery,about my view that Richard Westall probably painted the Flinders miniature, he replied (15 September, 1981) that "I think your idea of Richard Westall as a likely artist is a good one". Walker advised me that "We have Helen Jones's copy (of the miniature portrait) here, painted in 1919 from the original miniature given to the Mitchell Library, New South Wales, by Professor Flinders-Petrie."
The portrait is unsigned and Mrs Flinders, according to Walker, "did not like it and dubbed it as 'but an indifferent likeness' without naming the artist." Richard Westall could paint both excellent and indifferent portraits. In this case - possibly due to the need to complete the miniature speedily - it seems he (or some unkown artist) failed to meet a lover's expectations. It is however the best view of Matthew Flinders we are ever likely to have.
Monday, 29 March 2010
Thursday, 25 March 2010
New Monthly Magazine
'The New Monthly Magazine' No 8 Sept 1814 Vol 2 p141
Exhibition of a Selection of the Works of Richard Westall RA at the New Gallery Pall Mall, next door to the British Gallery, including Two Hundred and Fifty Pictures and Drawings which have never before been exhibited.
Mr Westall's reputation and style of art are so well known, that it will be needless to expiate on them; and on the propriety of exhibiting the works of one artist collectively, and by themselves, there can be but one opinion, as they form in this way a better whole, than in the motley groupings of pictures of opposite and different styles. The pictures are arranged on the walls of an elegant well-proportioned gallery, according to the necessary distances and height from the eye, and the drawings very properly by themselves, on divisional screens, and small cabinets. Much as we have been accustomed to admire the facility of composition and industry of Mr Westall, we must acknowledge our astonishment at the number of his works, which, after all, are but a selection, as we well remember many equal to the generality of those in the room that have not found a place in them.
Amog the most prominent are, - No 11 A Storm in Harvest, the property of R.P. Knight Esq which is well known by Meadows's beautiful print after it. No 31 Queen Judith reciting to Alfred the Great, when a Child, the songs of the Bards, describing the Heroic Deeds of his Ancestors, belonging to Sir G.P. Turner, Bart. No 32 Dionysius and Damocles, to Thos Hope Esq, which is one of the most splendid, tasteful and elegant cabinet pictures of any modern master. 38 Christ when a Child reasoning with the Doctors, belonging to Mr Westall himself. 57 Helen on the Scaen Gate come to view the Combat between Paris and Menelaus, the Earl of Oxford. This picture must be well remembered in the Royal Academy two or three years ago, as being one of the most attractive historical pictures in an exhibition more than usually fruitful in productions of that class. The distant army and camp are peculiarly happy. 66 Dionysius and Damocles, R.P. Knight Esq a beautiful variation of the same composition as No 32. 67 Elijah raising the Widow's Son, which the governors of the British Institution have stamped with their fiat, by purchasing for their permanent gallery of master-pieces of the British school. 71 Jupiter disguised as a Swan, pretending to seek the protection of Leda from the attack of an Eagle, the Earl of Aberdeen. It is not too much to say, that this is one of the most exquisite little productions in the room. 83 A Herd attacked by Lions - one of the Compartments of the Shield of Achilles, also the property of the Earl of Oxford, who, with distinguished taste and knowledge of art, has possessed himself of some of the finest pictures in the collection. 108 A Marriage Procession of the Greeks - one of the Compartments of the Shield of Achilles, R.P. Knight Esq; a splendid copy in oil of the beautiful and highly finished drawing that was formerlyexhibited in Mr Westall's private gallery. 115 The Lst Parting - from Shawe's Monody on the Death of his Wife, belonging to Mr Sharpe. If it is one of the provinces of painting to move the passions, and excite virtuous emotion, the painter of the most affecting scene has succeeded to the utmost: the pathetic, feeling, and affectionate regard of the dying wife to her distracted husband is touchingly expressed. The painter like Timanthes, has concealed the face of the latter; for what art can adequately depict the grief of such a parting, when it takes place in the bloom of youth, from the most affecting of all causes, and when nothing but the truest love and harmony has subsisted: the curtain must be dropped: it is even too affecting for recollection.
We shall recur to this collection in a future number.
The New Monthly 9 Oct 1814 pp248/9
Mr Westall's Gallery.
Having discharged our duty as far as our limits will permit towards the oil pictures in Mr Westall's gallery, we shall now proceed to examine his watercolour pictures; a branch of art to which he has given a new and decisive character, being among the first, with the late lamented Royal Academician Hamilton, who elevated the art of historical and poetical composition in watercolours above the meagre common-place productions of the Wales and Gwynns of the last century, and imparted to illustrative book prints a higher character than they had before obtained in this country. In saying this our graphic readers may be assured that the inventive Stothard has not escaped our memory.
Our labour here is lessened, as most of the drawings are well known through the multiplying influence of the graver: they consist of a variety of subjects from our most popular dead and living authors of celebrity. Among the principal must be particularly noticed a portion of the series of biblical subjects, to which we shall advert as a seperate publication in a subsequent number*. Nor should we forget the beautiful illustrations of Marmion and the Lady of the Lake, from the graver of Mr Charles Heath.
* not found
NOTE: The full listing of pictures in Westall's Gallery with their owners is in the catalogue which can be found at the British Library. I will be producing this catalogue at some future date. Several of the paintings mentioned by the New Monthly can be viewed on the web. The head of Elijah is on this blog.
Exhibition of a Selection of the Works of Richard Westall RA at the New Gallery Pall Mall, next door to the British Gallery, including Two Hundred and Fifty Pictures and Drawings which have never before been exhibited.
Mr Westall's reputation and style of art are so well known, that it will be needless to expiate on them; and on the propriety of exhibiting the works of one artist collectively, and by themselves, there can be but one opinion, as they form in this way a better whole, than in the motley groupings of pictures of opposite and different styles. The pictures are arranged on the walls of an elegant well-proportioned gallery, according to the necessary distances and height from the eye, and the drawings very properly by themselves, on divisional screens, and small cabinets. Much as we have been accustomed to admire the facility of composition and industry of Mr Westall, we must acknowledge our astonishment at the number of his works, which, after all, are but a selection, as we well remember many equal to the generality of those in the room that have not found a place in them.
Amog the most prominent are, - No 11 A Storm in Harvest, the property of R.P. Knight Esq which is well known by Meadows's beautiful print after it. No 31 Queen Judith reciting to Alfred the Great, when a Child, the songs of the Bards, describing the Heroic Deeds of his Ancestors, belonging to Sir G.P. Turner, Bart. No 32 Dionysius and Damocles, to Thos Hope Esq, which is one of the most splendid, tasteful and elegant cabinet pictures of any modern master. 38 Christ when a Child reasoning with the Doctors, belonging to Mr Westall himself. 57 Helen on the Scaen Gate come to view the Combat between Paris and Menelaus, the Earl of Oxford. This picture must be well remembered in the Royal Academy two or three years ago, as being one of the most attractive historical pictures in an exhibition more than usually fruitful in productions of that class. The distant army and camp are peculiarly happy. 66 Dionysius and Damocles, R.P. Knight Esq a beautiful variation of the same composition as No 32. 67 Elijah raising the Widow's Son, which the governors of the British Institution have stamped with their fiat, by purchasing for their permanent gallery of master-pieces of the British school. 71 Jupiter disguised as a Swan, pretending to seek the protection of Leda from the attack of an Eagle, the Earl of Aberdeen. It is not too much to say, that this is one of the most exquisite little productions in the room. 83 A Herd attacked by Lions - one of the Compartments of the Shield of Achilles, also the property of the Earl of Oxford, who, with distinguished taste and knowledge of art, has possessed himself of some of the finest pictures in the collection. 108 A Marriage Procession of the Greeks - one of the Compartments of the Shield of Achilles, R.P. Knight Esq; a splendid copy in oil of the beautiful and highly finished drawing that was formerlyexhibited in Mr Westall's private gallery. 115 The Lst Parting - from Shawe's Monody on the Death of his Wife, belonging to Mr Sharpe. If it is one of the provinces of painting to move the passions, and excite virtuous emotion, the painter of the most affecting scene has succeeded to the utmost: the pathetic, feeling, and affectionate regard of the dying wife to her distracted husband is touchingly expressed. The painter like Timanthes, has concealed the face of the latter; for what art can adequately depict the grief of such a parting, when it takes place in the bloom of youth, from the most affecting of all causes, and when nothing but the truest love and harmony has subsisted: the curtain must be dropped: it is even too affecting for recollection.
We shall recur to this collection in a future number.
The New Monthly 9 Oct 1814 pp248/9
Mr Westall's Gallery.
Having discharged our duty as far as our limits will permit towards the oil pictures in Mr Westall's gallery, we shall now proceed to examine his watercolour pictures; a branch of art to which he has given a new and decisive character, being among the first, with the late lamented Royal Academician Hamilton, who elevated the art of historical and poetical composition in watercolours above the meagre common-place productions of the Wales and Gwynns of the last century, and imparted to illustrative book prints a higher character than they had before obtained in this country. In saying this our graphic readers may be assured that the inventive Stothard has not escaped our memory.
Our labour here is lessened, as most of the drawings are well known through the multiplying influence of the graver: they consist of a variety of subjects from our most popular dead and living authors of celebrity. Among the principal must be particularly noticed a portion of the series of biblical subjects, to which we shall advert as a seperate publication in a subsequent number*. Nor should we forget the beautiful illustrations of Marmion and the Lady of the Lake, from the graver of Mr Charles Heath.
* not found
NOTE: The full listing of pictures in Westall's Gallery with their owners is in the catalogue which can be found at the British Library. I will be producing this catalogue at some future date. Several of the paintings mentioned by the New Monthly can be viewed on the web. The head of Elijah is on this blog.
Tuesday, 23 March 2010
Victoria's Sketchbook
Marina Warner's book 'Queen Victoria's Sketchbook' Macmillan 1979 includes a summary of Richard Westall's tutorship of Princess Victoria. It also includes what Marina Warner terms 'a most attractive portrait' of the Princess.
My father corresponded with Marina Warner and was sent an offprint of a paper given to The Royal Society on 20 Feb 1980. My father wrote to me on 6 June 1980 : "I have been in correspondence with Marina Warner about her book 'Queen Victoria's Sketchbook' to point out that William Westall ARA was Richard Westal's half brother, not his father as she had stated. She replied very kindly & thanked me for the correction; she also enclosed a printed copy of a lecture to the Royal Society in which she said they were step brothers. I suppose I must now write tactfully & point out the difference between a step brother & a half brother - the latter being correct as they were blood relations having the same father."
I would also like to point out that Victoria was not Richard's 'first and only pupil' as she states in her book as William Westall and William James Bennett had previously been Richard's pupils. In her Royal Society paper Warner does include William as one of Richard's pupils.
In her paper Warner remarks that Richard's 'style was profoundly marked by his early training as a silver engraver for, as a draughtsman, his line is exceptionally clear and simple.' She also comments that 'when we look at his (Richard's) face drawn by his friend Lawrence when Westall was in his late twenties, at the startling concentration of his brow, the unruly romantic hair, the curve of a sensuous mouth, it becomes clear that Princess Victoria was taught by someone as fervent and lively a temperament as hers. But by the time he came to Kensington Palace, the years had somewhat quenched the fiery protoromanticism of the youth.' Warner suggests that 'Westall's love of neo-classical profiles and strong expressionist gestures shaped the Princess's technique very markedly'.
During a discussion at the end of her lecture Warner mentions that Victoria was thirteen or fourteen when she copied Westall's Bible illustrations.
My father corresponded with Marina Warner and was sent an offprint of a paper given to The Royal Society on 20 Feb 1980. My father wrote to me on 6 June 1980 : "I have been in correspondence with Marina Warner about her book 'Queen Victoria's Sketchbook' to point out that William Westall ARA was Richard Westal's half brother, not his father as she had stated. She replied very kindly & thanked me for the correction; she also enclosed a printed copy of a lecture to the Royal Society in which she said they were step brothers. I suppose I must now write tactfully & point out the difference between a step brother & a half brother - the latter being correct as they were blood relations having the same father."
I would also like to point out that Victoria was not Richard's 'first and only pupil' as she states in her book as William Westall and William James Bennett had previously been Richard's pupils. In her Royal Society paper Warner does include William as one of Richard's pupils.
In her paper Warner remarks that Richard's 'style was profoundly marked by his early training as a silver engraver for, as a draughtsman, his line is exceptionally clear and simple.' She also comments that 'when we look at his (Richard's) face drawn by his friend Lawrence when Westall was in his late twenties, at the startling concentration of his brow, the unruly romantic hair, the curve of a sensuous mouth, it becomes clear that Princess Victoria was taught by someone as fervent and lively a temperament as hers. But by the time he came to Kensington Palace, the years had somewhat quenched the fiery protoromanticism of the youth.' Warner suggests that 'Westall's love of neo-classical profiles and strong expressionist gestures shaped the Princess's technique very markedly'.
During a discussion at the end of her lecture Warner mentions that Victoria was thirteen or fourteen when she copied Westall's Bible illustrations.
William Westall's Indian Prints
Apart from the Indian prints mentioned in relation to 'The Naval Chronicle' and @Foreign Scenery' the following are also known.
1826-1830 'Scenery, Costumes & Architecture chiefly on the Western Side of India' by Captain Robert Melville Grindlay was published in 6 parts, with the first three parts then appearing as Vol I and the other three in Vol II. The first Volume was published by R.Ackermann and the second by Smith, Elder & Co.
Fifteen coloured aquatints after Westall, of which six are from sketches by others, appeared. These views date from his visit to India in 1804, although the prints incorrectly state the year as 1803.
Eight of William's views were used in an 1892 one volume reprint, all from parts 1-6
Part 1
No 2 'Approach of the Monsoon, Bombay Harbour' eng T.Fielding (this print is used on the cover of 'The Journal of the Families in British India Society' Number 13 Spring 2005.)
No 6 'The Mountains of Aboo, in Guzerat' from a sketch by Capt Grindlay eng T.Fielding.
Part 2
No 8 'Approach to the Bore Ghaut' from a sketch by Lt Col Johnson eng T.Fielding.
No 9 'View in the Bore Ghaut' eng T.Fielding. (This print or one very similar was published by George Baxter in 1837 for 'The Pictorial Album; or, Cabinet of Paintings' pub Chapman & Hall.)
No 10 'View from the Top of the Bore Ghaut' eng T.Fielding.
Part 3
No 15 'Hermitage at Currungalle' from a sketch by late Capt Auber eng R.G. Reeve.
No 16 'Fortress of Bowrie, in Rajpootana' from a sketch by late Capt Auber eng C. Bentley. (This plate was subsequently published in monochrome in 'Hindostan: its landscapes, palaces, temples, tombs' by Emma Roberts, pub Fisher & Co, The Caxton Press in 2 vols. Westall's plate is in Vol 2 but engraved by A. Le Petit. Publication date has been given as 1848 and 1850, indicating it was re-issued.)
No 17 'A north-West View of the Fort of Bombay' eng R.G. Reeve.
Part 4
No 23 'The Town and Pass of Boondi, in Rajpootana' from a sketch by late Capt Auber eng C. Bentley.
No 24 'A View near Tonk, in Rajpootana' from a sketch by late Capt Auber eng R.G Reeve.
Part 5
No 29 'Entrance of the Great Cave - Temple of Elephanta, nr Bombay' eng C.Bentley.
No 30 'Interior of the Great Cave - Temple of Elephanta' eng J. Baily
Part 6
No 33 'Exterior of the Great Cave-Temple of Elephanta' eng S.G. Hughes.
No 34 'The Great Triad, in the Cave-Temple of Elephanta' eng T. Edge.
No 35 'View of the City and Fortress of Tonk, in Rajpootana' eng C.F. Hunt.
In 1827 Noted but not located 'Views of the Cities, Palaces etc on the River Ganges and Jumna' published by Ackermann said to have had 24 coloured plates after Westall.
In 1834 'The Hindoos' was published in two volumes by Charles Knight for The Library of Entertaining Knowledge (also described as the Society for the Diffusion of Useful Knowledge) with 24 wood engravings from drawings by William Westall. It was re-published by M.A. Nattali in 1847.
Vol I
1 'Ghaut in the Himalayas'
2 'Bheem Ka Udar, a view in the Himalaya Mountains'
3 'The Bore - coming in of the Tide in the Ganges'
4 'Ferryboat on the Ganges'
5 'Jumna Musjeed, Delhi'
6 'City of Agra'
7 'Point de Galle, in the island of Ceylon,
8 'Individuals of the Four Great Castes'
9 'The Trimurti - Busts of Brahma, Vishnu, and Siva, in the Temple of Elephanta'
10 'Entrance to the Temple of Elephanta'
11 'City of Benares'
12 'Hindoo School'
Vol II
1 'Portrait of a Kshatriya, from the original Picture by Mr Slous'
2 'Yogis'
3 'Bayaderes, or Dancing-Girls'
4 'Native of the Garrow Hills in his War-dress'
5 'Pagoda at Ramiseram'
6 'Hindoo Houses at Calcutta'
7 'Hindoo Altar, from the original in the British Museum'
8 'Specimen of Hindoo Painting, from a Native Picture in the British Museum'
9 'Peacock Shooting'
10 'Ancient fortified city in Rajast'han'
11 'Dybuck, an astronomer, calculating an Eclipse'
12 'Sacred Bull at Tanjore'
1826-1830 'Scenery, Costumes & Architecture chiefly on the Western Side of India' by Captain Robert Melville Grindlay was published in 6 parts, with the first three parts then appearing as Vol I and the other three in Vol II. The first Volume was published by R.Ackermann and the second by Smith, Elder & Co.
Fifteen coloured aquatints after Westall, of which six are from sketches by others, appeared. These views date from his visit to India in 1804, although the prints incorrectly state the year as 1803.
Eight of William's views were used in an 1892 one volume reprint, all from parts 1-6
Part 1
No 2 'Approach of the Monsoon, Bombay Harbour' eng T.Fielding (this print is used on the cover of 'The Journal of the Families in British India Society' Number 13 Spring 2005.)
No 6 'The Mountains of Aboo, in Guzerat' from a sketch by Capt Grindlay eng T.Fielding.
Part 2
No 8 'Approach to the Bore Ghaut' from a sketch by Lt Col Johnson eng T.Fielding.
No 9 'View in the Bore Ghaut' eng T.Fielding. (This print or one very similar was published by George Baxter in 1837 for 'The Pictorial Album; or, Cabinet of Paintings' pub Chapman & Hall.)
No 10 'View from the Top of the Bore Ghaut' eng T.Fielding.
Part 3
No 15 'Hermitage at Currungalle' from a sketch by late Capt Auber eng R.G. Reeve.
No 16 'Fortress of Bowrie, in Rajpootana' from a sketch by late Capt Auber eng C. Bentley. (This plate was subsequently published in monochrome in 'Hindostan: its landscapes, palaces, temples, tombs' by Emma Roberts, pub Fisher & Co, The Caxton Press in 2 vols. Westall's plate is in Vol 2 but engraved by A. Le Petit. Publication date has been given as 1848 and 1850, indicating it was re-issued.)
No 17 'A north-West View of the Fort of Bombay' eng R.G. Reeve.
Part 4
No 23 'The Town and Pass of Boondi, in Rajpootana' from a sketch by late Capt Auber eng C. Bentley.
No 24 'A View near Tonk, in Rajpootana' from a sketch by late Capt Auber eng R.G Reeve.
Part 5
No 29 'Entrance of the Great Cave - Temple of Elephanta, nr Bombay' eng C.Bentley.
No 30 'Interior of the Great Cave - Temple of Elephanta' eng J. Baily
Part 6
No 33 'Exterior of the Great Cave-Temple of Elephanta' eng S.G. Hughes.
No 34 'The Great Triad, in the Cave-Temple of Elephanta' eng T. Edge.
No 35 'View of the City and Fortress of Tonk, in Rajpootana' eng C.F. Hunt.
In 1827 Noted but not located 'Views of the Cities, Palaces etc on the River Ganges and Jumna' published by Ackermann said to have had 24 coloured plates after Westall.
In 1834 'The Hindoos' was published in two volumes by Charles Knight for The Library of Entertaining Knowledge (also described as the Society for the Diffusion of Useful Knowledge) with 24 wood engravings from drawings by William Westall. It was re-published by M.A. Nattali in 1847.
Vol I
1 'Ghaut in the Himalayas'
2 'Bheem Ka Udar, a view in the Himalaya Mountains'
3 'The Bore - coming in of the Tide in the Ganges'
4 'Ferryboat on the Ganges'
5 'Jumna Musjeed, Delhi'
6 'City of Agra'
7 'Point de Galle, in the island of Ceylon,
8 'Individuals of the Four Great Castes'
9 'The Trimurti - Busts of Brahma, Vishnu, and Siva, in the Temple of Elephanta'
10 'Entrance to the Temple of Elephanta'
11 'City of Benares'
12 'Hindoo School'
Vol II
1 'Portrait of a Kshatriya, from the original Picture by Mr Slous'
2 'Yogis'
3 'Bayaderes, or Dancing-Girls'
4 'Native of the Garrow Hills in his War-dress'
5 'Pagoda at Ramiseram'
6 'Hindoo Houses at Calcutta'
7 'Hindoo Altar, from the original in the British Museum'
8 'Specimen of Hindoo Painting, from a Native Picture in the British Museum'
9 'Peacock Shooting'
10 'Ancient fortified city in Rajast'han'
11 'Dybuck, an astronomer, calculating an Eclipse'
12 'Sacred Bull at Tanjore'
Sunday, 21 March 2010
Foreign Scenery
Between 1811 and 1814 T. Cadell & W. Davies published 'Foreign Scenery' in several parts. This publication is mentioned in 'Westall's Drawings' and although not seen a description based on information contained in 'The Bibliographers Manual' new edition by Henry G. Bohn (1864) V, 2878 as "A Series of Views of picturesque and romantic Scenery in Madeira, the Cape of Good Hope, Timor, China, Prince of Wales Island, Bombay, Mahratta Country, St Helena and Jamaica, engraved by Heath, Woolnoth and Cook, from drawings made in those countries by William Westall". One plate mentioned in 'Bibliotheca Britannica' by Robert Watt (1824) II is "Samoica".
The National Library of Australia lists this publication (http://nla.gov.au/nla.cat-vn1927145) adding that it was printed for Cadell and Davies by George Sidney, London. The views in the first three parts only are provided: Part 1 - Three Views in the island of Madeira; Part 2 - Three Views in the Island of Madeira; Part 3 - Two Views of Madeira and one in the island of St Helena.Descriptive accounts are in English and French. Names of the artists and engravers are given, the first six signed by R.Westall. Engravers include W. Woolnoth and S.Middiman. As Richard Westall never visited the countries and the title says the drawings were made by William Westall in those countries I think that either Richard 'improved' on the original sketches or engraved them. He is known to have had ability as an engraver.
It is not known if other parts of 'Foreign Scenery' were published. As William's exhibition of foreign scenery in 1808 did not succeed it is possible the venture was brought to a halt. It is also possible all the parts have been broken up or that all the parts are discovered. What seems clear is that drawings existed for two or more further parts. There are drawings of Madeira in private hands which have not been publicised.
The print of Bombay Castle at the National Maritime Museum, mentioned in my blog on 'The Naval Chronicle', could be an example of one missing print. The original of a St Helena view has been photocopied and is in the Witt Library as owned by Heseltine. Apart from the Cape of Good Hope and Jamaica the other plates mentioned could all be accounted for. There are photocopies of three original panoramic views of Jamaica at the Witt Library by William but it would seem unlikely that they would fit the format for 'Foreign Scenery'.
The National Library of Australia lists this publication (http://nla.gov.au/nla.cat-vn1927145) adding that it was printed for Cadell and Davies by George Sidney, London. The views in the first three parts only are provided: Part 1 - Three Views in the island of Madeira; Part 2 - Three Views in the Island of Madeira; Part 3 - Two Views of Madeira and one in the island of St Helena.Descriptive accounts are in English and French. Names of the artists and engravers are given, the first six signed by R.Westall. Engravers include W. Woolnoth and S.Middiman. As Richard Westall never visited the countries and the title says the drawings were made by William Westall in those countries I think that either Richard 'improved' on the original sketches or engraved them. He is known to have had ability as an engraver.
It is not known if other parts of 'Foreign Scenery' were published. As William's exhibition of foreign scenery in 1808 did not succeed it is possible the venture was brought to a halt. It is also possible all the parts have been broken up or that all the parts are discovered. What seems clear is that drawings existed for two or more further parts. There are drawings of Madeira in private hands which have not been publicised.
The print of Bombay Castle at the National Maritime Museum, mentioned in my blog on 'The Naval Chronicle', could be an example of one missing print. The original of a St Helena view has been photocopied and is in the Witt Library as owned by Heseltine. Apart from the Cape of Good Hope and Jamaica the other plates mentioned could all be accounted for. There are photocopies of three original panoramic views of Jamaica at the Witt Library by William but it would seem unlikely that they would fit the format for 'Foreign Scenery'.
The Naval Chronicle
Between 1806 and 1816 ten plates after William Westall drawings appeared in 'The Naval Chronicle' which was published in 40 volumes between 1799 and 1818 by Joyce Gold, 103 Shoe Lane, London. In the first 6 volumes the frontispiece of Britannia "represented in her Naval Character supported by the Trident, standing firm amid surrounding Storms" is after a Richard Westall drawing. The engraver in volumes 1,2,5 & 6 is Cooke and in vols 3 & 4 it is Heath.
All spelling is from the original.
The monochrome plates after William Westall are:
Vol XVI, 1806 p.129 'View looking up Coupang River, Island of Timor' from a drawing by Mr William Westall, brother of the Academician. Publication date 30th August 1806with the location described as East Indies. "Mr Westall is at present resident in the island of Madeira" No engraver's name is given so William may have been the engraver.
Vol XX, 1808 p.132 'Malay Prows,and a View of the South side of Coupang Bay, Island of Timor' engraved by Bennett. Publication date 31 August 1808. "These proas are very fast sailers"
Vol XX, 1808 p. 386 'View of the East of Madeira' engraved by Bennett 31 October, 1808. Drawn 1807. "A drawing by that rising young artist, Mr William Westall". A coloured aquatint vignette of this view was sold in 1980 by the Parker Gallery.
Vol XXI, 1809 p. 300 'Bombay Castle' eng Baily April 29, 1809. "An accurate representation". The National Maritime museum has an engraving of this view although it is a much better reproduction.
Vol XXII 1809 p. 213 'Government House, Funchall, Madeira' Drawn 1807, eng. Baily 30 Sept 1809. "The town residence of the Governor of Madeira". In the 'Burlington Magazine' 1954 A.P. Oppe in an article on Richard Wilson and William Hodges (www.jstor.org/stable871448) states: "'A View of Funchal, Madeira', in the Bacon Collection, which he attributes to Hodges, was regarded by Sir Hickman Bacon as by William Westall, although sold as by Wilson."
Vol XXII, 1809 p. 385 'Port Jackson, New South Wales' eng Baily 30 Nov 1809. "The annexed view was taken from Garden Island. The ships appear off the entrance to Sidney Cove, the chief settlement." Probably view to be seen on this blog
Vol XXVI, 1811 p.148 'View on Canton River, China' eng Baily 31 Aug 1811. "Taken about thirty miles from Canton". Original thought to be at the National Maritime Museum.
Vol XVIII, 1812 p.400 'Mosk in Panwell river Dekhan, India' eng Baily 30 Nov 1812. (In the introduction to the Plates erroneorusly given as in China)
Vol XXIX,1813 p52 'Fort Cornwallis - Prince of Wales Island' eng Baily 30 Jan 1813"Pulo Penang. In the Strait, near the coast of Malacca". Probable original in the India Office, British Library.
Vol XXXVI, 1816 p.481 'Panwell River, Dekkan, India' eng Baily 31 Dec 1816.
All spelling is from the original.
The monochrome plates after William Westall are:
Vol XVI, 1806 p.129 'View looking up Coupang River, Island of Timor' from a drawing by Mr William Westall, brother of the Academician. Publication date 30th August 1806with the location described as East Indies. "Mr Westall is at present resident in the island of Madeira" No engraver's name is given so William may have been the engraver.
Vol XX, 1808 p.132 'Malay Prows,and a View of the South side of Coupang Bay, Island of Timor' engraved by Bennett. Publication date 31 August 1808. "These proas are very fast sailers"
Vol XX, 1808 p. 386 'View of the East of Madeira' engraved by Bennett 31 October, 1808. Drawn 1807. "A drawing by that rising young artist, Mr William Westall". A coloured aquatint vignette of this view was sold in 1980 by the Parker Gallery.
Vol XXI, 1809 p. 300 'Bombay Castle' eng Baily April 29, 1809. "An accurate representation". The National Maritime museum has an engraving of this view although it is a much better reproduction.
Vol XXII 1809 p. 213 'Government House, Funchall, Madeira' Drawn 1807, eng. Baily 30 Sept 1809. "The town residence of the Governor of Madeira". In the 'Burlington Magazine' 1954 A.P. Oppe in an article on Richard Wilson and William Hodges (www.jstor.org/stable871448) states: "'A View of Funchal, Madeira', in the Bacon Collection, which he attributes to Hodges, was regarded by Sir Hickman Bacon as by William Westall, although sold as by Wilson."
Vol XXII, 1809 p. 385 'Port Jackson, New South Wales' eng Baily 30 Nov 1809. "The annexed view was taken from Garden Island. The ships appear off the entrance to Sidney Cove, the chief settlement." Probably view to be seen on this blog
Vol XXVI, 1811 p.148 'View on Canton River, China' eng Baily 31 Aug 1811. "Taken about thirty miles from Canton". Original thought to be at the National Maritime Museum.
Vol XVIII, 1812 p.400 'Mosk in Panwell river Dekhan, India' eng Baily 30 Nov 1812. (In the introduction to the Plates erroneorusly given as in China)
Vol XXIX,1813 p52 'Fort Cornwallis - Prince of Wales Island' eng Baily 30 Jan 1813"Pulo Penang. In the Strait, near the coast of Malacca". Probable original in the India Office, British Library.
Vol XXXVI, 1816 p.481 'Panwell River, Dekkan, India' eng Baily 31 Dec 1816.
Tuesday, 16 March 2010
Penang - William Westall (3)
This extract from 'The Raffles Drawings in the India Office' by Mildred Archer & John Bastin (1978), should have come before the Indian blog.
View of Fort Cornwallis, Prince of Wales Island, Penang (Peninsular Malaysia) 1804 by William Westall
Inscribed on the front in watercolour: William Westall 1804. On back in pencil: South view of Prince of Wales Island. Drawn and finished while in vessel off the island in 1804. W. Westall (the entry given has G W. Westall but I know of no relative or descendant of William's that could account for this. I have assumed this must be William.)
This watercolour is one of the earliest extant views of Prince of Wales Island (Penang) before it was elevated to a Presidency Government in 1805. It depicts in some detail Fort Cornwallis, named after Governor-General Lord Cornwallis (1738 - 1805) which was formidable in appearance but (according to Sir George Leith, Lt Governor of the island between 1800 and 1803) was totally incapable of defence. Judging by the inscription on the back, the watercolour was made by William Westall when his ship was anchored off George Town during March 1804...It seems likely that the rather uninspired engraving by Baily of Prince of Wales Island, which was published on 30 Jan 1813 by Joyce Gold for inclusion in 'The Naval Chronicle', XXIX, of the same year, was modelled on the Cadell and Davies engraving (Which was issued between 1811 and 1814 under the title 'Foreign Scenery' with eight others by this artist). Whatever may be the fact, the engraving by Baily is based on the present watercolour or another very like it, which would suggest that the drawing could not have come into the Raffles's possession until after he returned to England fromJava in 1816.
note Westall must have been at Penang some time during March of 1804.
View of Fort Cornwallis, Prince of Wales Island, Penang (Peninsular Malaysia) 1804 by William Westall
Inscribed on the front in watercolour: William Westall 1804. On back in pencil: South view of Prince of Wales Island. Drawn and finished while in vessel off the island in 1804. W. Westall (the entry given has G W. Westall but I know of no relative or descendant of William's that could account for this. I have assumed this must be William.)
This watercolour is one of the earliest extant views of Prince of Wales Island (Penang) before it was elevated to a Presidency Government in 1805. It depicts in some detail Fort Cornwallis, named after Governor-General Lord Cornwallis (1738 - 1805) which was formidable in appearance but (according to Sir George Leith, Lt Governor of the island between 1800 and 1803) was totally incapable of defence. Judging by the inscription on the back, the watercolour was made by William Westall when his ship was anchored off George Town during March 1804...It seems likely that the rather uninspired engraving by Baily of Prince of Wales Island, which was published on 30 Jan 1813 by Joyce Gold for inclusion in 'The Naval Chronicle', XXIX, of the same year, was modelled on the Cadell and Davies engraving (Which was issued between 1811 and 1814 under the title 'Foreign Scenery' with eight others by this artist). Whatever may be the fact, the engraving by Baily is based on the present watercolour or another very like it, which would suggest that the drawing could not have come into the Raffles's possession until after he returned to England fromJava in 1816.
note Westall must have been at Penang some time during March of 1804.
Monday, 15 March 2010
William Westall in China & India (2)
The Westalls had some associations with India before William went there in 1804. William Daniel, who with his uncle, Thomas travelled through India married William Westall's half-sister Mary Westall, in 1801. (see 'Early Views in India - Picturesque Journeys of Thomas and William Daniell 1786 - 1794' by Mildred Archer Thames & Hudson 1980 for their complete aquatints of the country.) Also William Hodges had married William 2nd cousin Anne Carr as his third wife. Richard Westall had shared an address with John Alefounder in 1784, an artist who had taught him miniatures. Alefounder left for India in the following year and died in Calcutta in 1795.
On his arrival in India at Bombay on 30 April 1804 William undertook a journey into the neighbouring mountains, known as the Western Ghats,of the Maratha country with a passport obtained from Sir Arthur Wellesley (later the Duke of Wellington) then Major-General commanding East India Company and British forces in the area, and while in the mountains William encountered some of these troops. In later years (1817 and 1824) he exhibited two pictures of the Ghats at the Royal Academy (see my blogpost on these paintings). They showed an artillery unit winding down the extraordinary Bhor Ghaut pass. It is about 90 miles from Bombay and according to the 'Imperial Gazetteer of India' (1908) 'in former times the Borghat was considered the key to the Deccan. In 1804 General Wellesley gave Bombay greater facilities of access to the Deccan by making the Borghat practicable for artillery'. I am told the site of these paintings is now a motorway.
William also made drawings of the excavated temples of Karli and Elephanta. In Bombay he gave drawing lessons to the daughters of Sir James Mackintosh, the Recorder of Bombay.
William spent about three months in India before his departure in August 1804. The 'Bombay Courier' of 18 August 1804 includes him ina list of passengers who had left 'by a recent opportunity'. (see 'British Artists in India 1760 - 1820' by Sir William Foster - Walpole Society 1930/31). Robert Westall wrote movingly about his father time in India, where he witnessed a terrible famine, in his memoir of William.
William travelled via St Helena to Britain and had arrived by 19 February 1805, when Richard Westall called upon Joseph Farington advising him his brother had returned.
In 1808 William's exhibition of foreign views resulted in the sale for £50 of a view of Bombay and he provided drawings for 'The Naval Chronicle' and between 1811 and 1814 nine plates from his hand appeared, three being Indian views: 'Bombay Castle'; Mosk (sic) in Panwell river Dekkan and Panwell River, Dekkan. The National Maritime Museum has a different and better engraving of Bombay Castle. Two further Indian views are known: 'An Indian Shrine' (at Leeds Museum) and a view which could possibly be of the Panwell river (in private hands, but a photo can be seen at the Witt Library. Some of William's most important pictures were engraved for Grindlays 'Costume and Archtecture chiefly on the Western Side of India' published in two volumes by R.Ackermann (Vol 1 1826) and Smith, Elder & Co (Vol 2 1830). They totalled 15 in number, with six based on drawings by serving soldiers - one picture is of Ceylon. A partial re-issue of these volumes in 1892 has eight of William's views, four being based on amateur drawings. A volume not seen was published by Ackermann in 1827 'Views in the Cities, Palaces etc of the River Ganges and Jumna'. It is possible some of these views may have been used by Charles Knight for his publication 'The Hindoos', which appeared in 1834. There are 24 wood engravings, all from William's illustrations, but they are of modest quality.
Richard Westall also provides further evidence of interest in India. In 1814 he exhibited a portrait of Fry Magniac, listed as a Magistrate/Judge in Bengal. He also completed a portrait exhibited in the same year of Charles Magniac. Both these portraits were owned at the time byFrancis Magniac. In 1820 an edition of 'The Tales of the Genii or Horam the son of Asmar' appeared with engravings after Richard Westall drawings. This book was published in 1764 and went through numerous editions. Purportedly a translation from the Persian manuscript by 'Sir Charles Morell, at one time Ambassador to the Great Mogul. Morell was in fact a pseudonym for the Rev James Ridley (briefly an East India chaplain and son of Dr Glocester Ridley) and the tales are entirely his work.
Listings of known Indian and related illusrations to follow.
On his arrival in India at Bombay on 30 April 1804 William undertook a journey into the neighbouring mountains, known as the Western Ghats,of the Maratha country with a passport obtained from Sir Arthur Wellesley (later the Duke of Wellington) then Major-General commanding East India Company and British forces in the area, and while in the mountains William encountered some of these troops. In later years (1817 and 1824) he exhibited two pictures of the Ghats at the Royal Academy (see my blogpost on these paintings). They showed an artillery unit winding down the extraordinary Bhor Ghaut pass. It is about 90 miles from Bombay and according to the 'Imperial Gazetteer of India' (1908) 'in former times the Borghat was considered the key to the Deccan. In 1804 General Wellesley gave Bombay greater facilities of access to the Deccan by making the Borghat practicable for artillery'. I am told the site of these paintings is now a motorway.
William also made drawings of the excavated temples of Karli and Elephanta. In Bombay he gave drawing lessons to the daughters of Sir James Mackintosh, the Recorder of Bombay.
William spent about three months in India before his departure in August 1804. The 'Bombay Courier' of 18 August 1804 includes him ina list of passengers who had left 'by a recent opportunity'. (see 'British Artists in India 1760 - 1820' by Sir William Foster - Walpole Society 1930/31). Robert Westall wrote movingly about his father time in India, where he witnessed a terrible famine, in his memoir of William.
William travelled via St Helena to Britain and had arrived by 19 February 1805, when Richard Westall called upon Joseph Farington advising him his brother had returned.
In 1808 William's exhibition of foreign views resulted in the sale for £50 of a view of Bombay and he provided drawings for 'The Naval Chronicle' and between 1811 and 1814 nine plates from his hand appeared, three being Indian views: 'Bombay Castle'; Mosk (sic) in Panwell river Dekkan and Panwell River, Dekkan. The National Maritime Museum has a different and better engraving of Bombay Castle. Two further Indian views are known: 'An Indian Shrine' (at Leeds Museum) and a view which could possibly be of the Panwell river (in private hands, but a photo can be seen at the Witt Library. Some of William's most important pictures were engraved for Grindlays 'Costume and Archtecture chiefly on the Western Side of India' published in two volumes by R.Ackermann (Vol 1 1826) and Smith, Elder & Co (Vol 2 1830). They totalled 15 in number, with six based on drawings by serving soldiers - one picture is of Ceylon. A partial re-issue of these volumes in 1892 has eight of William's views, four being based on amateur drawings. A volume not seen was published by Ackermann in 1827 'Views in the Cities, Palaces etc of the River Ganges and Jumna'. It is possible some of these views may have been used by Charles Knight for his publication 'The Hindoos', which appeared in 1834. There are 24 wood engravings, all from William's illustrations, but they are of modest quality.
Richard Westall also provides further evidence of interest in India. In 1814 he exhibited a portrait of Fry Magniac, listed as a Magistrate/Judge in Bengal. He also completed a portrait exhibited in the same year of Charles Magniac. Both these portraits were owned at the time byFrancis Magniac. In 1820 an edition of 'The Tales of the Genii or Horam the son of Asmar' appeared with engravings after Richard Westall drawings. This book was published in 1764 and went through numerous editions. Purportedly a translation from the Persian manuscript by 'Sir Charles Morell, at one time Ambassador to the Great Mogul. Morell was in fact a pseudonym for the Rev James Ridley (briefly an East India chaplain and son of Dr Glocester Ridley) and the tales are entirely his work.
Listings of known Indian and related illusrations to follow.
Friday, 12 March 2010
Wednesday, 10 March 2010
Monday, 8 March 2010
William Westall in China and India (1)
Adapting parts of articles published in 'The Journal of the Families in British India Society', 'Marg', and 'Cook's Log' (as listed on the blog in my published articles) plus material from other sources, I have now gathered together the areas relevant to William Westall's stays in China and India. This is episode 1.
Following the shipwreck which concluded William Westall's expedition to Australia under the command of Matthew Flinders, William decided to travel to China. A vessel which had been captured from the Spanish was adapted for British use, named the 'Rolla'. It reached Whampoa in China on December 14th 1803 with William on board. As Sir William Foster writes in 'British Artists in India 1760 - 1820 (Walpole Society 1930/31): 'The China records at the India Office (vol 145 p 153) inform us that on 25 January 1804 he (William Westall) "being extremely desirous of proceeding to Ceylon and other parts of India which have hitherto been but little visited by artists, and to make up for the deficiency of his drawings etc, which the barren coast of New Holland afforded him no opportunity of doing, applied to the President (of the East India Company) for permission for that purpose, requesting at the same time introductions to the Governments to which he might proceed, to facilitate his object"; and that Committee, approving his project, caused the desired letters to be written to the Governors of Madras, Bombay, Ceylon, and Prince of Wales Island". Farington's Diary vol ii p272 (Greig edition) was told that Westall's action was taken on the advice of Mr David Lance, one of the members of the Select Committee at Canton.' In the Yale edition of his Diaries Farington notes on 9 August 1804 information supplied by his nephew Lieut Flinders:'At China he (William Westall) was persuaded by Mr Lance one of the Super Cargo's to return back to India'
David Lance was one of Sir Joseph Banks's 'extraordinarily large contingent of collectors...busy gathering plant specimens and shipping them back to their mentor in Soho Square' (see David Mackay 'Presiding Genius of Exploration: Banks, Cook, and Empire, 1767-1805.) He is mentioned in E.Bretschneider 'History of European Botanical Discoveries in China' and a biography of Peter Good (by J.Britten & G.S. Boulger)with respect to introducing plants from China to Kew. Peter Good was Gardener on the Flinders expedition and had been a Kew gardener. It is clear that Lance's views had a strong impact on William.
William was in China for about two months before travelling to India on 'The Carron' as part of the fleet that left Macao on February 6 (Farington has Feb 5)under the command of Commodore Nathaniel Dance. He eye witnessed the action about a week later in which the fleet repulsed an attack by a French squadron under Admiral Linois. The Bombay portion of Dance's fleet, after touching on Malacca, Penang, Point de Galle and Cannanore arrived in Bombay on April 30,1804. Among the passengers named by the Bombay Courier on May 5 was 'Mr Westhall'.
Following the shipwreck which concluded William Westall's expedition to Australia under the command of Matthew Flinders, William decided to travel to China. A vessel which had been captured from the Spanish was adapted for British use, named the 'Rolla'. It reached Whampoa in China on December 14th 1803 with William on board. As Sir William Foster writes in 'British Artists in India 1760 - 1820 (Walpole Society 1930/31): 'The China records at the India Office (vol 145 p 153) inform us that on 25 January 1804 he (William Westall) "being extremely desirous of proceeding to Ceylon and other parts of India which have hitherto been but little visited by artists, and to make up for the deficiency of his drawings etc, which the barren coast of New Holland afforded him no opportunity of doing, applied to the President (of the East India Company) for permission for that purpose, requesting at the same time introductions to the Governments to which he might proceed, to facilitate his object"; and that Committee, approving his project, caused the desired letters to be written to the Governors of Madras, Bombay, Ceylon, and Prince of Wales Island". Farington's Diary vol ii p272 (Greig edition) was told that Westall's action was taken on the advice of Mr David Lance, one of the members of the Select Committee at Canton.' In the Yale edition of his Diaries Farington notes on 9 August 1804 information supplied by his nephew Lieut Flinders:'At China he (William Westall) was persuaded by Mr Lance one of the Super Cargo's to return back to India'
David Lance was one of Sir Joseph Banks's 'extraordinarily large contingent of collectors...busy gathering plant specimens and shipping them back to their mentor in Soho Square' (see David Mackay 'Presiding Genius of Exploration: Banks, Cook, and Empire, 1767-1805.) He is mentioned in E.Bretschneider 'History of European Botanical Discoveries in China' and a biography of Peter Good (by J.Britten & G.S. Boulger)with respect to introducing plants from China to Kew. Peter Good was Gardener on the Flinders expedition and had been a Kew gardener. It is clear that Lance's views had a strong impact on William.
William was in China for about two months before travelling to India on 'The Carron' as part of the fleet that left Macao on February 6 (Farington has Feb 5)under the command of Commodore Nathaniel Dance. He eye witnessed the action about a week later in which the fleet repulsed an attack by a French squadron under Admiral Linois. The Bombay portion of Dance's fleet, after touching on Malacca, Penang, Point de Galle and Cannanore arrived in Bombay on April 30,1804. Among the passengers named by the Bombay Courier on May 5 was 'Mr Westhall'.
Saturday, 6 March 2010
Southey letters
Sothebys 19 July 1960 - letter quoted from Robert Southey to William Westall
'...Your brother will use his own judgement as to the subjects. My notion was that as the poem (A Tale of Paraguay) had little to do with passion, & less with action, the more simple & quiescent the subjects which might be chosen to illustrate it, the more characteristic they would be. I hope very shortly to send him the oncluding book: it is more than half written: but the stanza has fettered my progress in a manner which might make me suspect a natural decay of power, if I did not feel the same strength and alacricity as ever when I am out of it..'
The letter is from Keswick. It is one of six mentioned to William Westall between 20 January and 20 February, 1832.
They were catalogued with a letter to Westall from Dora Wordsworth (daughter of the poet) and a manuscript poem 'To my dearest Friend Westall' signed John Ayton dated October, 1826. This would be to Richard Westall (see his Will with respect to John Ayton)
A full letter in typed transcript from Southey to William Westall from Keswick Jan 1822. Left to my brother by our uncle William Edmund Westall and given to me.
'My dear Westall,
I wrote to Longman some little time ago saying I could have the "Tale of Paraguay" ready for publication this season, and desiring that your brother might make three drawings from it. Their answer was "When you have the Tale of Paraguay ready we will consider respecting plates.
The enormous charge now made for drawings and engravings is such as to amount almost to prohibition.
Those which have been lately done for the Scoth Novels have not answered and we believe it is not the intention of the parties to illustrate any more". By this you see how unavailing it would be for me to write to them respecting the illustrations of "Roderick". And indeed I do not see of what use it could be, as we do not want them to take part in the speculation. In common course of trade they must sell them when they are ordered, and more than this they would not do unless the concern was wholly their own.
Murray said to me that he had seen the drawings, spoke very highly of them, and added that he should be most happy to engage in the engravings and publication of them.
He was to confer about it with Bedford, he said.
When I wrote in reply I let him know what number of copies had been sold, which I believe he had very much underated.
Further I have not heard.
Do you act according to your own judgement, and I will be ready at the time you specify with half the adventure. Much as I should like to see the drawings, it is better to defer this gratification as the engravers are less occupied just now.
I shall be a great deal before the public in the ensuing year, and with that sort of notoriety which may be of use to the prints.
They may very likely lead to a series from the other poems.
Edith shall copy the few sketches which I possess. They were taken by one quite unacquainted with the art, the two best of the collection were many years ago put into the hands of an artist at Bristol on his travels to make drawings that they might be engraved for my letters - but he took them away, and we never heard of him or them afterwards.
It is possible that my Uncle may have the originals, and I will write to him about them.
I have two scenes in the Life of Sir J. Moore's retreat which, if you had sketched them, would have been fine things indeed.
Edith will set about them directly. And I will put out my feelers in all directions to find where sketches may be obtained.
Murray could be of material assistance here.
The book about the new, or rather, old process in painting has been sent me and I have been much struck with the ingenuity of the authoress in seeing the hint which a mere accident gave her and pursuing it so steadily and successfully. Have you seen the book or the pictures painted in the manner there described.
You have most likely seen Lord Byron's abuse of me. I reply to it because it contains a direct charge of calumny which it is proper to meet with a direct denial. And this gives me an opportunity of laying on the lash as he deserves.
My letter is gone this day to Wordsworth and as soon as he returns it I shall dispatch it to the Courier. Murray will be sending to me sooner than Longman.
I shall very much like to see your stone drawings. Is there any secret in the printing these things which we have not yet discovered in this country? The ladies all desire their kind remembrances.
When is there a chance of seeing you in this country?
Did it ever occur to you that views in illusration of Wordsworth poem, would be a promising speculation?
I do not know so promising a one. They should be a sma;l size and such as Lakers would purchase.
God Bless you,
Yours affectionately
Robert Southey'
To William Westall, Esqre; A.R.A.
18 Mornington Place,
Hampstead Road
'...Your brother will use his own judgement as to the subjects. My notion was that as the poem (A Tale of Paraguay) had little to do with passion, & less with action, the more simple & quiescent the subjects which might be chosen to illustrate it, the more characteristic they would be. I hope very shortly to send him the oncluding book: it is more than half written: but the stanza has fettered my progress in a manner which might make me suspect a natural decay of power, if I did not feel the same strength and alacricity as ever when I am out of it..'
The letter is from Keswick. It is one of six mentioned to William Westall between 20 January and 20 February, 1832.
They were catalogued with a letter to Westall from Dora Wordsworth (daughter of the poet) and a manuscript poem 'To my dearest Friend Westall' signed John Ayton dated October, 1826. This would be to Richard Westall (see his Will with respect to John Ayton)
A full letter in typed transcript from Southey to William Westall from Keswick Jan 1822. Left to my brother by our uncle William Edmund Westall and given to me.
'My dear Westall,
I wrote to Longman some little time ago saying I could have the "Tale of Paraguay" ready for publication this season, and desiring that your brother might make three drawings from it. Their answer was "When you have the Tale of Paraguay ready we will consider respecting plates.
The enormous charge now made for drawings and engravings is such as to amount almost to prohibition.
Those which have been lately done for the Scoth Novels have not answered and we believe it is not the intention of the parties to illustrate any more". By this you see how unavailing it would be for me to write to them respecting the illustrations of "Roderick". And indeed I do not see of what use it could be, as we do not want them to take part in the speculation. In common course of trade they must sell them when they are ordered, and more than this they would not do unless the concern was wholly their own.
Murray said to me that he had seen the drawings, spoke very highly of them, and added that he should be most happy to engage in the engravings and publication of them.
He was to confer about it with Bedford, he said.
When I wrote in reply I let him know what number of copies had been sold, which I believe he had very much underated.
Further I have not heard.
Do you act according to your own judgement, and I will be ready at the time you specify with half the adventure. Much as I should like to see the drawings, it is better to defer this gratification as the engravers are less occupied just now.
I shall be a great deal before the public in the ensuing year, and with that sort of notoriety which may be of use to the prints.
They may very likely lead to a series from the other poems.
Edith shall copy the few sketches which I possess. They were taken by one quite unacquainted with the art, the two best of the collection were many years ago put into the hands of an artist at Bristol on his travels to make drawings that they might be engraved for my letters - but he took them away, and we never heard of him or them afterwards.
It is possible that my Uncle may have the originals, and I will write to him about them.
I have two scenes in the Life of Sir J. Moore's retreat which, if you had sketched them, would have been fine things indeed.
Edith will set about them directly. And I will put out my feelers in all directions to find where sketches may be obtained.
Murray could be of material assistance here.
The book about the new, or rather, old process in painting has been sent me and I have been much struck with the ingenuity of the authoress in seeing the hint which a mere accident gave her and pursuing it so steadily and successfully. Have you seen the book or the pictures painted in the manner there described.
You have most likely seen Lord Byron's abuse of me. I reply to it because it contains a direct charge of calumny which it is proper to meet with a direct denial. And this gives me an opportunity of laying on the lash as he deserves.
My letter is gone this day to Wordsworth and as soon as he returns it I shall dispatch it to the Courier. Murray will be sending to me sooner than Longman.
I shall very much like to see your stone drawings. Is there any secret in the printing these things which we have not yet discovered in this country? The ladies all desire their kind remembrances.
When is there a chance of seeing you in this country?
Did it ever occur to you that views in illusration of Wordsworth poem, would be a promising speculation?
I do not know so promising a one. They should be a sma;l size and such as Lakers would purchase.
God Bless you,
Yours affectionately
Robert Southey'
To William Westall, Esqre; A.R.A.
18 Mornington Place,
Hampstead Road
Thursday, 4 March 2010
William Westall's Indian Views
In 1817 William Westall exhibited 'An Indian Army in a pass of the Ghauts, Decan, East Indies' at the Royal Academy (no 317). There is a similar painting also exhibited at the RA in 1824 (no 139) as 'Distant view of the Marhatta Country from the Boa Ghaut, between Bombay and Poonah'
The British Institution gave measurements of pictures and in 1818 W. Westall exhibited 'An Indian Army in the pass of the Ghauts Decan, East Indies', measuring 6 ft 6 ins by 5ft 5 ins as the outside of the frame. In 1825 the BI showed (no392) 'Distant View of the Marhatta Country. From the Boa Ghaut between Bombay and Poonah' with measurements 6ft 6ins by 5ft 6ins.
The two paintings would seem to have been at the RA and BI in consecutive years.
John Landseer wrote for William's obituary in the 'Art Journal' April 1850: 'Westall's forte was landscape portraiture...a large picture by his hand, a grand mountain scene with a lofty waterfall; a "View among the Ghauts of Hindostan', a picture possessing much the charming grey aerial tone and just degraduation on which the early fame of Turner was founded'.
Contemporary comment appeared in 'The European Magazine'Vol 85, June 1824 on the exhibition then at Somerset House: 'The academician Turner is absent this season...where we are so generally accustomed to see him in his glory...Turner's absence...is in great measure compensated by Calcott and W.Westall, who severally display merits that in Turner are often amalgamated...no 139 is entitled, Distant View of the Mahratta Country from the Boa Ghaut. This Boa Ghaut, we take to be the native country of the dreadful Boa serpent, and it looks like it. The figures represented, are a detatchment of the native army, commanded by an English officer, who, the day the study was made, passed the Ghaut with part of the artillery taken by Sir Arthur Wellesley at the Battle of Assaye Deccan. This picture is a grand assemblage of Indian forest scenery, with rocks and mountains, from which a river is precipitated; and will add to Mr W. Westall's well earned reputation as a travelled landscape painter of first rate ability. The very soul of the performance resides in that tender mixture of humid haze with the effulgence of sunlight, which confers at once beauty and vastness of dimensions on wild scenery, and of which we have endeavoured to suggest the idea above, as pervading a large portion of the admired landscapes of Turner'
Comment also appeared in Ackermann's 'Repository of Arts' Vol V p 168, 1818. This was of the BI exhibition. It reads: 'If an excellent and picturesque representation of Eastern scenery can recommend a subject, this has certainly this recommendation: the colouring is strong and vivid, and the scenery extremely interesting.'
In June 1824 Vol III (3rd series) p. 355 of the 'Repository of Arts' describes Westall's 'peculiarly romantic and well painted' picture at the RA. The 'Literary Gazette' July 10, 1824 no 390 p 442 refers the same painting as 'very highly interesting..striking, grand, and picturesque.'
In 1837 George Baxter reproduced 'The Boa Ghaut' explaining the Ghaut or gate forms 'one of the most striking peculiarities of Central India'. C.T. Courtney Lewis in 'Baxter: Picture Printer of the 19th Century' (1911) suggests that there are two prints of this Boa Ghaut picture 'one more artistic than the other.
Dr Mildred Archer whilst looking through some photographs of paintings with me found one very like the Baxter reproduction. The painting had previously been attributed to William Havell. I was able to see this original painting and a photograph of it can be seen on p. 28 of Turner Studies (Tate) Vol 4 No 1.
The British Institution gave measurements of pictures and in 1818 W. Westall exhibited 'An Indian Army in the pass of the Ghauts Decan, East Indies', measuring 6 ft 6 ins by 5ft 5 ins as the outside of the frame. In 1825 the BI showed (no392) 'Distant View of the Marhatta Country. From the Boa Ghaut between Bombay and Poonah' with measurements 6ft 6ins by 5ft 6ins.
The two paintings would seem to have been at the RA and BI in consecutive years.
John Landseer wrote for William's obituary in the 'Art Journal' April 1850: 'Westall's forte was landscape portraiture...a large picture by his hand, a grand mountain scene with a lofty waterfall; a "View among the Ghauts of Hindostan', a picture possessing much the charming grey aerial tone and just degraduation on which the early fame of Turner was founded'.
Contemporary comment appeared in 'The European Magazine'Vol 85, June 1824 on the exhibition then at Somerset House: 'The academician Turner is absent this season...where we are so generally accustomed to see him in his glory...Turner's absence...is in great measure compensated by Calcott and W.Westall, who severally display merits that in Turner are often amalgamated...no 139 is entitled, Distant View of the Mahratta Country from the Boa Ghaut. This Boa Ghaut, we take to be the native country of the dreadful Boa serpent, and it looks like it. The figures represented, are a detatchment of the native army, commanded by an English officer, who, the day the study was made, passed the Ghaut with part of the artillery taken by Sir Arthur Wellesley at the Battle of Assaye Deccan. This picture is a grand assemblage of Indian forest scenery, with rocks and mountains, from which a river is precipitated; and will add to Mr W. Westall's well earned reputation as a travelled landscape painter of first rate ability. The very soul of the performance resides in that tender mixture of humid haze with the effulgence of sunlight, which confers at once beauty and vastness of dimensions on wild scenery, and of which we have endeavoured to suggest the idea above, as pervading a large portion of the admired landscapes of Turner'
Comment also appeared in Ackermann's 'Repository of Arts' Vol V p 168, 1818. This was of the BI exhibition. It reads: 'If an excellent and picturesque representation of Eastern scenery can recommend a subject, this has certainly this recommendation: the colouring is strong and vivid, and the scenery extremely interesting.'
In June 1824 Vol III (3rd series) p. 355 of the 'Repository of Arts' describes Westall's 'peculiarly romantic and well painted' picture at the RA. The 'Literary Gazette' July 10, 1824 no 390 p 442 refers the same painting as 'very highly interesting..striking, grand, and picturesque.'
In 1837 George Baxter reproduced 'The Boa Ghaut' explaining the Ghaut or gate forms 'one of the most striking peculiarities of Central India'. C.T. Courtney Lewis in 'Baxter: Picture Printer of the 19th Century' (1911) suggests that there are two prints of this Boa Ghaut picture 'one more artistic than the other.
Dr Mildred Archer whilst looking through some photographs of paintings with me found one very like the Baxter reproduction. The painting had previously been attributed to William Havell. I was able to see this original painting and a photograph of it can be seen on p. 28 of Turner Studies (Tate) Vol 4 No 1.
Opinion of William Westall
Final extract from cuts to Turner Studies article.
R.N. James, in 'Painters and their work' (L.Upcott Gill 1896) Vol III pp 284/5) made some interesting observations about William Westall when he wrote: 'To speak of William Westall's pictures as those of a topographical painter who made his sketches and watercolours, as has been done, is to do him much injustice, for both in watercolours and in oils his works, while correct views, are none the less good paintings, in which the colouring and management of light and shade are excellent'.
Colonel Grant in 'Old English Landscape Painters' (Vol VII p 532) an erratic observer of British art but one with a wide knowledge of his field, wrote: 'When Westall set up his easel at home, beside Windermere, or before the embattled brow of Yorkshire Richmond, or better still by the sunny flats of Ely and Cambridge, very peaceful and beautiful paintings resulted'.
R.N. James, in 'Painters and their work' (L.Upcott Gill 1896) Vol III pp 284/5) made some interesting observations about William Westall when he wrote: 'To speak of William Westall's pictures as those of a topographical painter who made his sketches and watercolours, as has been done, is to do him much injustice, for both in watercolours and in oils his works, while correct views, are none the less good paintings, in which the colouring and management of light and shade are excellent'.
Colonel Grant in 'Old English Landscape Painters' (Vol VII p 532) an erratic observer of British art but one with a wide knowledge of his field, wrote: 'When Westall set up his easel at home, beside Windermere, or before the embattled brow of Yorkshire Richmond, or better still by the sunny flats of Ely and Cambridge, very peaceful and beautiful paintings resulted'.
Westall,Turner & Girtin
Another extract from the cuts to 'The Westall Brothers'
The 'Somerset House Gazette' in a series of articles on 'The Rise and Progress of Water Colour Painting in England' (No IV p 113 29 Nov 1823) commented that 'Were we to neglect to mention Mr Richard Westall, whose historical and poetical compositions displayed so elegant a taste in the grouping of the human figure, whilst a young man, and the contemporary of Turner and Girtin, we should do great injustice to his merits.' The article went on to suggest that Westall 'as one of the founders of the British school of water-colour painting' was reaching in his pictures at the Royal Academy standards of force, clarity and contrast which excited no less admiration with 'all judges of art' than did 'the admired works of Turner and Girtin'. The author, probably the editor of the Journal W.H. Pyne, of the above relates that Westall never lived up to the hopes of his early admirers because, due to 'the benevolence of his heart, yielding to the claims of family affection' he was forced to 'labour for profit'. S.T. Prideaux in 'Aquatint Engraving' (published by Duckworth in 1909 p.185) mentions 'A Treatise on Ackermann's Superfine Water-Colours (1801)' with directions to prepare and use them, including succinct hints on drawing and painting' in which the author 'recommends the study of Turner, Girtin and Westall'. The index entry gives this as a reference to William Westall but in 1801 William was unknown; this clearly a reference to Richard Westall.The same error is made in 'The Tempting Prospect' by Michael Clarke (British Museum publications 1981).
If we are to have a balanced re-assessment of Richard Westall I can think of no better place to start than a letter by Richard James, formerly lecturer at the Barber Institute of Fine Arts at Birmingham University, who wrote to me: (Feb 2 1982)
'Richard Westall seems interesting to me less for any influence he may have had on others than for the influences he absorbed and displays in his own work. Of all the figure painters of what one might loosely describe as the "Boydell generation" he seems the most typical in the blend one finds of neo-calssical composition, proto-romanticism, diluted Fuseli, the stage traditions of Kemble and Mrs Siddons etc etc. As a style it marks the end, rather than a new beginning - the end of attempts to live up to Reynolds's advice and ambitions for history painting...I believe that his importance, or rather his usefulness, is that he typified so much that was current and alive in the last two decades of the 19th century.' It could be said that Westall led, in some ways, an era of British art from which Turner emerged to replace him.
James describes 'The First Interview of Henry IV of France with the Fair Gabrielle' by Westall, exhibited at the RA in 1829 (no79) and which was shown at the Fine Arts Society in April 1971 as 'Westall doing a Bonington, in some respects' One wonders if it might not have been that Bonington 'did a Westall'.
The 'Somerset House Gazette' in a series of articles on 'The Rise and Progress of Water Colour Painting in England' (No IV p 113 29 Nov 1823) commented that 'Were we to neglect to mention Mr Richard Westall, whose historical and poetical compositions displayed so elegant a taste in the grouping of the human figure, whilst a young man, and the contemporary of Turner and Girtin, we should do great injustice to his merits.' The article went on to suggest that Westall 'as one of the founders of the British school of water-colour painting' was reaching in his pictures at the Royal Academy standards of force, clarity and contrast which excited no less admiration with 'all judges of art' than did 'the admired works of Turner and Girtin'. The author, probably the editor of the Journal W.H. Pyne, of the above relates that Westall never lived up to the hopes of his early admirers because, due to 'the benevolence of his heart, yielding to the claims of family affection' he was forced to 'labour for profit'. S.T. Prideaux in 'Aquatint Engraving' (published by Duckworth in 1909 p.185) mentions 'A Treatise on Ackermann's Superfine Water-Colours (1801)' with directions to prepare and use them, including succinct hints on drawing and painting' in which the author 'recommends the study of Turner, Girtin and Westall'. The index entry gives this as a reference to William Westall but in 1801 William was unknown; this clearly a reference to Richard Westall.The same error is made in 'The Tempting Prospect' by Michael Clarke (British Museum publications 1981).
If we are to have a balanced re-assessment of Richard Westall I can think of no better place to start than a letter by Richard James, formerly lecturer at the Barber Institute of Fine Arts at Birmingham University, who wrote to me: (Feb 2 1982)
'Richard Westall seems interesting to me less for any influence he may have had on others than for the influences he absorbed and displays in his own work. Of all the figure painters of what one might loosely describe as the "Boydell generation" he seems the most typical in the blend one finds of neo-calssical composition, proto-romanticism, diluted Fuseli, the stage traditions of Kemble and Mrs Siddons etc etc. As a style it marks the end, rather than a new beginning - the end of attempts to live up to Reynolds's advice and ambitions for history painting...I believe that his importance, or rather his usefulness, is that he typified so much that was current and alive in the last two decades of the 19th century.' It could be said that Westall led, in some ways, an era of British art from which Turner emerged to replace him.
James describes 'The First Interview of Henry IV of France with the Fair Gabrielle' by Westall, exhibited at the RA in 1829 (no79) and which was shown at the Fine Arts Society in April 1971 as 'Westall doing a Bonington, in some respects' One wonders if it might not have been that Bonington 'did a Westall'.
Tuesday, 2 March 2010
Richard Westall & Turner
In 1984 my article on the Westall Brothers was published in 'Turner Studies'. Eric Shanes, the editor, kindly wrote of the final revised text: 'It now reads excellently'. These revisions meant cutting some of the original text and I think it is worth putting some of the cuts on the blog now, starting with this one:
'Richard Westall was considered in a series of articles in the 'Repository of Arts on Painting in Watercolours'. In January, 1813 the writer(thought to have been either Rudolf Ackermann or James Northcote, although Northcote seems unlikely)suggested that 'The entire development of richness and effect which at length elevated this art (of watercolour painting) to vie with the force of painting in oil, was left for the genius of Richard Westall to complete. The drawings of this master, when a very young man, excited universal admiration. Not only the cognoscenti, but the professors themselves, were for some time at a loss to discover by what means he was enabled to produce such splendour of colours and depth of effect...For several years, the historical and elegant compositions of Westall, were principal objects of attraction to the Exhibitions of the Royal Academy...Innumerable engravings have been made from the designs of this artist, many of them on a large scale, which were coloured in imitation of the originals, and have had an extensive circulation, not only in England, but, previous to the impediments created by the wars, in every part of the Continent..The extraordinary productions from the pencil of Westall at once excited the capacities of his contemporaries to the fullest stretch of exertion. Turner was the first to raise himself to rival fame. It was sufficient for his energetic mind to see, that his materials used in his department of art were capable of effecting so much. Without becoming a copyist, he laboured to produce in landscape pictures that should comprehend the same extent of scale, of splendour and effect.'
More texts later!
'Richard Westall was considered in a series of articles in the 'Repository of Arts on Painting in Watercolours'. In January, 1813 the writer(thought to have been either Rudolf Ackermann or James Northcote, although Northcote seems unlikely)suggested that 'The entire development of richness and effect which at length elevated this art (of watercolour painting) to vie with the force of painting in oil, was left for the genius of Richard Westall to complete. The drawings of this master, when a very young man, excited universal admiration. Not only the cognoscenti, but the professors themselves, were for some time at a loss to discover by what means he was enabled to produce such splendour of colours and depth of effect...For several years, the historical and elegant compositions of Westall, were principal objects of attraction to the Exhibitions of the Royal Academy...Innumerable engravings have been made from the designs of this artist, many of them on a large scale, which were coloured in imitation of the originals, and have had an extensive circulation, not only in England, but, previous to the impediments created by the wars, in every part of the Continent..The extraordinary productions from the pencil of Westall at once excited the capacities of his contemporaries to the fullest stretch of exertion. Turner was the first to raise himself to rival fame. It was sufficient for his energetic mind to see, that his materials used in his department of art were capable of effecting so much. Without becoming a copyist, he laboured to produce in landscape pictures that should comprehend the same extent of scale, of splendour and effect.'
More texts later!
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