OLD PAINTING IDENTIFIED
Website enquiry
From time to time, people around the world who’ve
seen this website send us queries about some aspect of local history, often
concerning ancestry, and we try to answer them as best we can. One of the more
unusual requests came from Shepherd & Derom Galleries of New York earlier this
year, asking if we could identify a painting they have, simply titled A View
at Waltham Abbey. It didn’t take long for a number of WAHS voices to say “I
know where that is” – but before we reveal the answer,
see if you too can tell where it is…
Image reproduced by courtesy of
Shepherd & Derom Galleries
Well, it certainly is an unusual view of this town –
it’s certainly not the picturesque church or market-place that most artists go
for. Some might even not believe that this could be a Waltham Abbey scene – it
looks more like an Italian mountain village! But it is of Waltham Abbey, and the
secret of its location - which of course you knew anyway
- is of course the small stream running along the western side of the Town Hall,
looking north.
Shown in the painting is one of the two short
branches of the Cornmill Stream, just after it branches into two near the
Vicarage, where the old pin mill used to stand. Signs of where the mill’s two
great water-wheels once turned, each supplied by its own separately sluiced
channel, can still be seen there. But there is one building shown in the
painting which has changed remarkably little today: beyond the end of the stream
stands what was then annd still is now the Crown public house. Though it stands
on the Romeland, its rear wall is quite recogniseable in this view, which means
that it must then have been visible from the stream, presumably through the (now
boarded up) gap between No.s 12 and 14 Highbridge Street.
Camp's Alley
Out of view in the painting, but visible in this
modern photo of the same scene, runs the other branch of Cornmill Stream,
flowing from right to left, with the first branch flowing towards us to rejoin
it, the view of the Crown now obscured by a small building erected over the
stream.
When the painting was executed, in the 1840s, the
Town Hall had not yet been built, and what is shown instead, to the right of the
painting, is a row of cottages backing onto the stream, that were then owned by
local businessman John Camp. Camp’s Alley, as they were known, became run-down
in the later 19th century and degenerated into a notorious slum area – ripe for
being swept away and replaced by a gleaming new Town Hall in 1904.
No wonder – at the time when this scene was being
painted, there was no public sewerage in this town, and every sort of waste was
carried away by the various streams and channels in this area. Perfect for doing
your laundry in, as the ladies in the painting evidently thought. And it looks
such an idyllic scene as well! But it is all too easy to tar our ancestors’ ways
with an overly sanitary modern brush; the streams have always flowed well, and
must have made the centre of Waltham Abbey much healthier than many other such
settlements of those days. Just make sure you live as far upstream as possible!
The Artist
The
watercolour was painted by
George Cattermole (1800-1868), who trained as a draughtsman and supplied
engraved illustrations for many of the popular magazines and annuals of his
time, as well as for several novels, including The Old Curiosity Shop and
Barnaby Rudge, written by his friend Charles Dickens. He also learnt watercolour
painting and, in later life, oils, and his scenes of medieval chivalry and
romance were very well received, especially in
mainland Europe.
Despite being considered “defective in solidity of
form and texture, and in realism or richness of colour” (Encyclopædia
Britannica), his painting of the stream at Waltham
Abbey shows a good ability for
bringing out the atmospheric light
in a scene (as we said before, this
one could almost be of central Europe), and for discovering such a scene
in the first place, one that no other artist has
painted, so far as we know.
True, the structures are
very sketchily rendered, in a way
perhaps more suited to oil than to
watercolour, but they do reveal a
sensitivity towards abstract expression of form, and
perhaps remind us of artwork of the 1950s painted with
a palette knife rather than a brush. This class of painting
was yet to be developed when the Encyclopædia Britannica
published its opinion of the artist in 1911.
Research in New York
As to what brought Cattermole to Waltham Abbey in
the first place, Leanne Zalewski, Research Associate at
Shepherd &
Derom Galleries, has uncovered some correspondence between him and a Thomas
Chapman of Waltham Abbey, who was, according to some joint
research by Leanne and WAHS, most likely the Thomas Chapman born circa
1780, farmer of the Abbey
Farm, on the site of the present Abbey Gardens. There were some other Thomases
in the family tree, which even back then was of old local lineage, but the
farmer’s dates seem to fit best with the painting’s chronology.
It would seem that Thomas
Chapman may have commissioned Cattermole to paint some local scenes for him, or
perhaps was merely friends with him, and the artist
painted a local scene on one of his visits to see his
friend. But whether the actual raison d'être of this painting will
ever become known is anyone’s guess!
Further enquiries about this
watercolour may be directed to Shepherd & Derom Galleries at [email protected].
Some Links:
Shepherd &
Derom Galleries
George Cattermole (Encyclopædia Britannica)
For More Information please
Contact WAHS
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