Thomas Woodward was born in Pershore in 1801, son to a solicitor in the town. Woodward’s first exhibited picture was the portrait of a favourite horse belonging to a Mr Berry, which was shown at the Royal Academy in London in 1821. On the recommendation of his friend Sir Edwin Landseer, who had a high opinion of Woodward’s work, Woodward painted many portraits of horses for Queen Victoria and Prince Albert and became a celebrated animal specialist.
Of all his pictures, his battle pieces achieved the greatest fame. One of his finest is now in the Worcester City museum collection and depicts The Battle of Worcester in 1651; it was exhibited at the Royal Academy in 1837. This painting shows the young Charles II in the midst of bloody battle, gesturing towards the Cathedral at Worcester. Although the painting doesn’t accurately describe the way the battle went, it captures the horror of hand-to-hand fighting during the Civil War, and the bravery of Charles in the face of overwhelming opposition.
Worcester City Art Gallery and Museum acquired three paintings by George Cattermole in 1915 as part of the Sale Bequest of Victorian Watercolours.
Cattermole initially trained as an architectural draftsman and accurate interiors are often a feature of his work. These scenes usually include romantic and dramatic subjects such as medieval knights.
His scenes of Armourers, including Trying the Sword are among his best and the Victoria & Albert Museum have a very similar version of this work in their collection. These were made as illustrations for The Armourer’s Tale in a book of short stories called Evenings at Haddon Hall. Cattermole also illustrated the Old Curiosity Shop and Barnaby Rudge by his friend, Charles Dickens.
Cattermole was a member of the Old Watercolour Society, where it is likely he met David Cox and the two artists were great admirers of each other’s work.
Many painters famously have a muse, a model they are inspired to draw over and over again, someone often deeply entwined into their personal as well as their professional lives. Landscape painters, too, may have scenes that they turn to regularly over their career, becoming re-inspired as they interpret the view in a new way.
Birmingham-born artist David Cox (1783-1859) painted a large watercolour of Kenilworth Castle in 1806, the year after he first exhibited at the Royal Academy. This painting is now in Birmingham Museum’s collection and is critically considered his earliest important work. He went on to revisit this landscape throughout his career.
By contrast, this watercolour from the Worcester City museum collection by Cox dates to the very end of his career, just two years before his death. By 1856 his health meant he was no longer able to paint out of doors unaccompanied, but that didn’t stop him returning to the inspiration of his muse landscape. Even as he was suffering from his final bronchial illness in 1859, he still managed to send seven pictures for exhibition to the Watercolour Society.
Other watercolours of Kenilworth by David Cox are held in the collections of the Victoria & Albert Museum, the Government Art Collection, and more at Birmingham Museums.
Still life paintings take everyday objects as their focus such as fruit and vegetables, flowers, objects and sometimes dead animals or fish. The choice of objects and how they are shown give clues to the meaning of the artwork.
The tradition of still life painting as we know it has its roots in the Northern Renaissance. Painted in 1872 by British artist, Albert Hodder (1845-1911), this still life group from Worcester City’s collection draws on the history of genre painting and Neo-Classical Italian art with classical columns visible in the background. These fluted pillars and the grapes and vines almost certainly places this scene in Italy, a country known for fine wines and delicious food.
Whereas in some still life paintings, the image of rotting fruit or skulls serve to remind the viewer of the passing of time and the impermanence of material objects, others celebrate life’s pleasures such as wine, exotic food and flowers. Although this painting shows a dead bird, it is not a message of mortality but an image of fecundity: a bounty of vegetables, exotic fruit and game for the table.
In the mid-nineteenth century, the talented Scottish sculptor William Brodie turned his hand to create this lifelike bust of Edward Evans. In 1830 Evans, along with William Hill, founded the vinegar makers Hill & Evans, who by 1903 had the largest vinegar works in the world, in Lowesmoor, Worcester.
William Brodie (1815-1887) was born in Banff in Scotland and became a prolific portrait sculptor who, thanks to the verity and technical skills shown in his works, became a member of the Royal Scottish Academy in 1859. In the eighteenth and nineteenth centuries, a popular way to depict gentry, land owners, politicians and other important figures was to commission well-known sculptors to create marble, bronze and plaster busts. The Worcester City Art Gallery & Museum sculpture collection includes works by Brock, Papworth, Baily and Kirk, in addition to this bust by Brodie which is on display in the museum.
By 1851, Edward Evans was also Managing Director of the Worcester City and County Banking Company. This bust originally belonged to the Worcester Bank, along with the bust of R Padmore by Papworth and we have evidence that both pieces were loaned by the Bank for display at the Worcester Exhibition of 1882. Worcester Bank was taken over by Lloyds and they presented these busts to the gallery in 1902.
A few years ago, Worcester City Museum and Arts Council were bequeathed four portraits of the Jefferys (also spelled Jefferies) family from Kidderminster. Three of which are by the renowned pastelist John Russell RA (1745 – 1806).
Inspired by the work of his master Francis Cotes and Rosalba Carriera, whose work he collected, John Russell worked mostly in oil pastel and would smudge the outlines then add finishing details in black. In 1772, Russell wrote Elements of Painting with Crayons which is available on Google books here. In 1788 he was Elected Royal Academician and went on to be appointed Crayon (pastel) Painter to King George III in 1790. Russell charged 30 guineas for a head portrait such as this and up to £150 for full-length group paintings – prices comparable to Joshua Reynolds PRA. Works by Russell are now held in prestigious galleries across the UK including The Fitzwilliam Museum, British Museum, National Portrait Gallery and Victoria & Albert Museum, among others.
Although best known for pastel portraits, Russell was also an amateur astronomer and mathematician and used a powerful refractor along with his artistic skills to map the moon – Birmingham Museum and Art Gallery hold a wonderful example in their collection.
The earliest portrait from the collection is a pastel on paper of John Jefferies (1714 – 1785) and is attributed to John Russell (Right). John Jefferys was an affluent corn miller and leased the Kidderminster town mill. With his growing wealth, he bought Franche Hall in 1796.
Along with his son and heir, Matthew, John was among the members of the non-conformist congregation in Kidderminster who broke away become leaders of New Meeting.
The most lavish portrait from the Jefferies family collection is of Matthew Jefferies (1740 – 1814), the eldest son of John Jefferies and was created in 1775 (top). Matthew followed his father’s footsteps and took over the town mill and, building on the family fortune, became one of Kidderminster’s wealthiest residents. He purchased a number of local manor houses and built Blakebrook House in Kidderminster sometime before 1795. In 1769 a Mr Matthew Jefferies of Kidderminster was listed among local dignitaries as a ‘subscriber’ in a book of poetry by the blind writer Pricilla Pointon, which offers some insight into a possible philanthropic nature and an interest in the arts.
The most recent artwork in the collection by Russell is an 1805 oil on canvas portrait of Matthew’s younger brother, Thomas Jefferies (1742 – 1820) (Right). Thomas was a goldsmith and worked from Cockspur Street in London.
Russell is known to have travelled Worcester in 1780 and Kidderminster in 1788, then returned to Worcester and Kidderminster in 1781. But the dates we have (1775 and 1895) do not correlate with these and suggest that the sitters may have travelled to London to have their portrait taken. Thomas Jefferys (1717 – 1785), one of John’s three brothers was a cartographer and map maker to King George III, perhaps Thomas Jefferies met John Russell due to their overlapping cartographic interests and was introduced to Thomas’ brother John’s family? Or as John Russell was also a devout Methodist, perhaps his own and the Jefferys family’s non-conformist beliefs brought them together?
These portraits are not only a beautiful collection of works by a significant artist but also offer a fascinating insight into the financial, social and cultural gentrification of this Kidderminster trade family.
Artworks Accepted by HM Government in lieu of Inheritance tax and allocated to Worcester City Council for display at Worcester City Art Gallery and Museum, 2010
Boehm of Malvern was a company formed to manufacture fine bone china and porcelain, opened by Helen Boehm in 1971. Whilst visiting London, Helen Boehm had heard about the high quality of English porcelain and discovered the work of former workers at Royal Worcester Porcelain who had formed Cranleigh Art Ceramics.
A studio in Tanhouse Lane, Malvern was set up, amalgamating Edward Marshall Boehm of Trenton, based in New Jersey, USA, with Cranleigh Art Ceramics to form a new company which Helen would finance and manage the sales for.
Worldwide sales were quickly established, and many of the sculptures were inspired by flowers, birds and animals. Seeking inspiration for their designs, the model makers were regular visitors to Worcester City Art Gallery & Museum to study the taxidermy collection, and even borrowed specimens to take to their Malvern studio for examination.
This sculpture from the Worcester City museum collection depicts a pair of long-tailed tits perched among the spikey foliage of a gorse bush. It was originally listed as a 400 limited edition piece, but manufacturing costs were increasing and the company prizes quality over quantity, and therefore only completed 162 of these by 1976.
The tradition of carrying flags into battle dates back thousands of years, although it was the Roman army and the European wars of the Middle Ages that made rallying behind a flag part of battle strategy. The flag or colour became the command point for each regiment and the way a commanding general could identify placement on the battlefield. Battalions were trained to arrange themselves in relation to the colour and to reorganise from there when the battle became chaotic.
As battle tactics changed and the armies moved to khaki in the field, the use of colours in battle became more of a threat than a strategic advantage. The practice died out for the British Army during the Boer War and official policy changed in 1891. Other countries were still carrying flags into battle in WW1 and even WW2.
By the end of the Civil War at the Battle of Worcester in 1651, both sides were exhausted – the Parliamentarian army had reportedly jogged in their shirtsleeves to make the journey at speed – and knew that organisation and motivation on the battlefield would be essential, something that Cromwell’s New Model Army excelled at. The Royalist Scots troops used white field signs and so Cromwell ordered his army to wear nothing that was white. King Charles spent the early stages of the battle in Worcester Cathedral’s tower where he would have been watching the placement and struggle of each regimental colour across the city and the floodplain to the south.
This sketch from the Worcester City museum collection by Thomas Woodward (1801-1852) was made in preparation for his great painting The Battle of Worcester. In his finished painting, three colours fly over the churning battle. Although Victorian painters tended to romanticise the experience of war, Woodward captures the chaos it must have been at the Battle of Worcester.
David Cox was born in Birmingham in 1783 and during his life he moved to London, then Hereford and back to London before moving back to Birmingham in 1841. As well as moving across the country he also frequently took trips to paint in wales or across Europe throughout. It is therefore unsurprising that people taking long, often arduous journeys were a frequent subject in his evocative landscapes.
His travellers and journeymen are often shown crossing vast landscapes and facing tough weather conditions, highlighting how small and vulnerable people are in contrast to the great powers of nature.
In the early nineteenth-century, watercolour painters were expected to exercise tight control in their artworks and follow of precise techniques. Like his contemporary of J W M Turner, the rough, loose finish of this painting and other works by Cox marked him out as an unconventional and even controversial artist.
This painting was done on rough wrapping paper rather than traditional watercolour paper, which would have made it harder to capture precise detail, but helped Cox to explore the textural qualities of a dramatic, stormy day.
Worcester City Art Gallery and Museum is lucky to have a large collection of watercolour paintings by one of the nineteenth century’s greatest landscape painters David Cox, thanks to the Sale Bequest that came to the museum in 1915.