AdoptA WATTS Photograph of a young boy appreciating Nemesis G F Watts, Nemesis, Date unknown, gesso model possibly for the study of An introduction by Perdita Hunt, Director of - Artists’ Village

dopt a Watts was an initiative launched in 2002 to secure the long term care and preservation of Watts Gallery Trust’s collection of Apaintings, sculpture and drawings by the most eminent Victorian artist, G F Watts OM RA (1817-1904). Over 100 artworks have been adopted and we are hugely grateful to our adopters, many of whom have been with us since the early days, to help create the momentum which has seen so many artworks safeguarded for the benefit of future generations.

I am delighted to launch this beautifully illustrated book with excerpts written by our adopters many of whom have forged a personal bond with their chosen artwork - in celebration of a wedding anniversary or birthday, in memory of a loved one or simply because they have an emotional connection to a particular piece.

As we look to the future, I am inspired by our adopters’ comments and support at such a crucial time for Watts Gallery Trust as we move forward with our ambition to complete an artists’ village as a national beacon for the Arts & Crafts movement, and to create an international network of artists’ studio-house museums.

Our hope is that others will join the Adopt a Watts scheme as we work towards increasing the number of adopted works which are in desperate need of conservation. This will help us complete the displays at Watts Studios which opened to the public in the spring of 2016; and in the future, Limnerslease, the home G F Watts and his wife the ceramic artist, Mary Watts.

Thank you to all our adopters and welcome to our new adopters. Watts Gallery Trust is immensely grateful to Clytie also known as Sunflower Alexander and Mary Creswell our members of the Adopt A Watts Scheme: Pencil Study of the Figure of Death In Memory of Keith Dale Mrs Moore Robertson (Sargent) Jan and Warren Adelson for ‘Love and Death’

Chalk Compositional Study for David Anstice Lady Dalrymple also known as Anna Dalrymple for ‘Life’s Illusions’ (1849) Sophia Dalrymple Sir Hew Dalrymple and his granddaughter Sophia Dalrymple Watercolour Study for the Fresco Dr Jill Armitage and Tom Sawyer ‘Justice: A Hemicycle of Lawgivers’ Lilian David Davis, Chairman, County Council Standing Female Figure in Dress, Jane Bailey Unidentified Portrait Study, Possibly Full-scale gesso model for the The De Laszlo Foundation for ‘Helen Rose Huth’ commemorative sculpture of Alfred Lord Tennyson Orpheus and Eurydice John Beale Black and White Chalk Portrait Marion Dell Pencil Thumbnail Sketch of ‘Hope Tom and Ingrid Beazley Study of Mrs Leslie Stephens (Head and Shoulders)

Silverpoint Portrait Study of Virginia Martin Beisly Self-Portrait of G F Watts Aged Dr John Dobson and Sheila Pattle Seventeen also known as Self-Por- Dobson Sanguine and Grey Chalk Bust- Billmeir Charitable Trust trait as a Young Man length Study of a Youth with Curly Red Hair (for unknown mytholog- Endymion Sir Andrew and Lady Duff ical or literary subject, related to Gordon ‘Bacchus and Ariadne’ by Titian) Under a Dry Arch Duke of Kent School Evolution Katie Butcher Pen and Ink Studies of Rider and ExxonMobil Study for the Portrait of Edward VII Charterhouse School Horse for ‘Physical Energy’ as H.R.H. Edward Albert Prince of Wales (later King Edward VII) Chalk Study for ‘Clytie’ Colin Ford CBE and Sue Grayson Ford MBE Shared adoption of Compton Parish Council Virginia Dalrymple green dress Aristides and the Shepherd The George John and Sheilah Liva- nos Charitable Trust Shared adoption of Compton Village Hall Virginia Dalrymple green dress Pencil Study of a Man’s Frowned Face, Study of Anger (Copy after an Unknown Source) Study of a Knight with a Lady David Graham, in memory of Viv Shared adoption of Rosalind Lawson Smith, a very special friend Virginia Dalrymple green dress. The Wounded Heron Alistair Gray OBE and Lyn Gray Full-Scale Gesso Model for ‘Physical John Lewis OBE Bust-length Study of a Heroic Energy’ Young Male May Princep Lucy and Tim Lindholm Mary Seton Watts’s Diaries Dr Desna Greenhow

Georgina Treherne Pencil Thumbnail Sketch of ‘Hope’ Virginia Heffernan

For He Had Great Possessions Marina Logan-Bruce Sunset on the Alps Susan and Anthony Holmes

Pencil Thumbnail Sketch of Figures George and Angie Loudon Shared adoption of Richard Jefferies in ‘Love and Life’ Virginia Dalrymple green dress. Progress Philip Martyn The Good Samaritan Henry and Betty Jones Drawing of , with loose Dr Colette Metcalfe Black and White Chalk Study of a Sir Mark Jones long hair Cast of the Right Hand (From an Fiesole Alan Midgley and Jan Chapman Unknown Cast) A Parasite NADFAS Society in the East Surrey Black Chalk Study for Area ‘The Minotaur’ John Stuart Mill Robert Napier CBE Pencil Thumbnail Sketch of ‘Hope’ Mrs G F Watts (Backview) Annie Norman, in memory of AVB Pencil Self-Portrait of G F Watts John King (Nick) Norman Miss Virginia Julian Dalrymple also NPU Consultants Jacob and Esau Jamie and Julia Korner known as Mrs Francis Champneys Rachel Gurney Richard Ormond CBE and Professor Surrey Woodland also known as Lady Laidlaw, in memory of Leonée Ormond End of the Day Helen Violet Pritchard Large Chalk Study of the Figure Peter Palmer The Irish Famine Ann Laver of Messenger for the oil painting ‘The Messenger’; study of a draped, Caricature of G F Watts as an Epsom standing female figure with an Beggar infant Found Drowned David Pike Shared adoption of Derek Tanous Violet Lindsay Lillie Langtry also known as The Shared adoption of Denise Topolski Dean’s Daughter Virginia Dalrymple green dress Eve Tempted Iris Dr Nicholas Tromans and Dr Alison Smith Eve Repentent Colour Chalk Study of Virginia Ju- Jane Turner lian Dalrymple Mrs G F Watts The girls and alumnae of Prior’s Field Shared adoption of School Virginia Dalrymple green dress Green Summer Keith and Sue Rawlings in celebra- After the Deluge Dr & Mrs John Vardon tion of John and Sheila Dobson’s 50 years of marriage Charcoal Self-Portrait Study known Love Triumphant Mark and Deborah Rees as ‘Fear’ Paolo and Francesca Lady Verey Florence Nightingale Jim and Patricia Rothman Sower of the Systems Anthea Vernell Thomas Hughes Rugby School Two Pen and Ink Studies of the Carol Wates Wax Maquette for oil painting ‘Love Sarah Selzer (former Surrey County Mountains (possibly for ‘Sunset on Steering the Boat of Humanity’ Councillor in 2005-2009) the Alps’) Lady Somers Philip Sebastian, 9th Lord Somers Portrait of Dr J Joachim also known Hazel Watson as ‘A Lamplight Study’ Song of the Shirt A Semptress Self Portrait in the Style of Van Dyck Neil Watts

A Sea Ghost Shalford Decorative and Fine Arts Pencil self-portrait study Sanguine Society and gray chalk bust-length Slumber of the Ages John and Kate Siebert Study of a Youth for Bacchus and Ariadne Sanguine Portrait of Lady Bagot

Drawing of Ellen Terry, with loose Yvonne Skinner long hair Shared adoption of Julian Spencer-Smith Violet Lindsay Lady Archibald Campbell

1860 - 1869 Oil on canvas

This painting is available for adoption for £1,500 for a period of five years.

The Adopt a Watts scheme offers you the opportunity to have a personal association with a painting, drawing or sculpture by the 19th century’s most celebrated British artist, G F Watts. You can exclusively adopt any available work from Watts Gallery Trust’s collection. In return, adoption is granted for five years and your name is engraved on a beautifully handcrafted plaque and placed on the frame or next to your chosen artwork.Your adoption will ensure the preservation and long term care of your chosen artwork and our collection as a whole, saving it for future generations.

If you are interested in joining the Adopt a Watts scheme, please contact Development Officer Sarah James on 01483 901 809 or email [email protected].

Watercolour Study for the Fresco 'Justice: A Hemicycle of Lawgivers' Adopted by Dr Jill Armitage and Tom Sawyer

Watts probably first met my relative Edward Armitage when they were joint prizewinners in the 1842 competition for fresco designs for the new . Watts used his prize money to travel to Italy, stopping en route in Paris, where he stayed with Armitage.

Armitage was training under Delaroche at the École des Beaux Arts and helping him with his massive mural, Hemicycle, based on Raphael’s School of Athens. Armitage would have taken Watts to see this, and it was almost certainly an inspiration for Watts’s later fresco at Lincoln’s Inn, Justice: A Hemicycle of Lawgivers, for which this watercolour was a preparatory study. Watts used a number of his friends as models, with Armitage modeling for the Earl of Pembroke, seen bottom right wearing chain mail and holding Magna Carta.

The Adopt a Watts scheme provides an excellent means through which to support Watts Gallery - Artists’ Village, and we were delighted to be able to select this particular work.

Standing Female Figure in Dress, Unidentified Portrait Study, Possibly for 'Helen Rose Huth' Adopted by Jane Bailey

I am keen to support the Gallery and this scheme as I have watched with great admiration how the Artists’ Village has developed, like a ‘phoenix arising from the ashes’, jumping a century in ten years. It is inspirational to see how it is humming with vitality and ideas.

When I first saw the drawingStanding Female Figure in a Dress I was struck by its beauty. The folds of the dress highlighted in white are superbly observed, and the study instantly reminded me of a favourite drawing by Augustus John of Dorelia in a long dress, though I know of no direct connection.

Orpheus and Eurydice Adopted by John Beale

by his loss, her musician husband, Orpheus, effect. The grey emphasises the extreme Orpheus and Eurydice perfectly descends into Hades in a bid to reclaim paleness of Eurydice’s skin and produces captures the couple’s heroic sadness at her: in playing his lyre, he charms both an ethereal effect. This is in contrast to the heart of this tragic myth. It is to me Pluto and Prosperine who agree to release Orpheus’ extremely healthy and fleshy one of Watts’s most moving works. When Eurydice. But only on the condition that figure. Watts Gallery reopened in 2011 after the Orpheus does not look back once he and dramatically successful restoration project, Eurydice begin their climb back to the I wanted to support the display of the world. As husband and wife ascend to collection by making a donation via the daylight, Orpheus cannot resist and glances Adopt a Watts scheme. To have my name back to look at Eurydice. associated with this great painting was a bonus. Watts’s painting captures this moment: on Orpheus’ backward glance, Eurydice Orpheus and Eurydice is a legend that vanishes. She collapses and dies; Orpheus Watts returned to again and again from the drops his lyre to reach for her, but she 1860s onwards. The Greek legend is a tale has already begun to fall backwards into of death and loss. Ovid and Virgil tell of Hades. Painted during a time when Watts Eurydice’s death from a snake bite and her used subdued tints with very little colour, subsequent descent into Hades. Devastated the painting has a very monochrome

Pencil Thumbnail Sketch of 'Hope' Adopted by Tom and Ingrid Beazley

e chose Hope because of its message - however bad things can seem to be, if you look (listen) hard enough, it is possible to find Whope. We love its universal appeal; the way people from a Holocaust survivor to Barack Obama can identify with it and be inspired. We have one of Phil Disley’s limited edition prints of Obama as Hope.

I found this quote by G F Watts, which I hope is correct: ‘I want to make people think. My intention has not been so much to paint pictures that will charm the eye as to suggest great thoughts that will appeal to the imagination and the heart, and kindle all that is best and noblest in humanity.’ It does, however, ‘charm the eye’ too.

We love the way Hope has been reproduced in various forms from political cartoons to stamps, often as in this case, to say something. Although mankind is destroying the world, there is still hope.

Evolution Adopted by Katie Butcher

As a Friend of the gallery since 2007 and a volunteer steward as well, I was eager to financially support the gallery in a new way and felt the Adopt a Watts scheme was a wonderful way to do this. However, when it came to choosing a painting I felt that rather than adopt one of the more ‘popular’ paintings instead I would choose perhaps one of the less obviously beautiful or favoured Watts paintings.

Evolution is emotive to me; it portrays the Earth mother and children, and she is aloof, rather than devoted as one may expect. There is a certain terribleness as the children are in conflict with one another vying for her attention. Fighting to survive, they are ruthless - the strong will overcome the weak.

Watts was interested in the concept of evolution and he makes no attempt to beautify what is, in essence, the human struggle for survival. His search for a balance between science and spirituality is something he experimented with in his art throughout his lifetime and is still relatable today.

Study for the Portrait of Edward VII as HRH Edward Albert Prince of Wales (later King Edward VII) Adopted by Charterhouse School

This portrait was commissioned by the Benchers of the Middle Temple in 1874. It is the only known painting by Watts of a future monarch and one of very few full length portraits by the artist. Watts enjoyed the company of the Prince during his sittings, but due to delayed sittings and the different light in each sitting (the Prince was not always able to come to Watts’s studio), he was never happy with the picture. The Prince’s schedule meant that only some of the portrait could be painted from life.

When the painting was shown it was quite heavily criticised, so Watts suggested that Frank Holl take over the commission, and he retained the picture for his own collection.

Virginia Dalrymple Green Dress

Adopted by Compton Parish Council, Compton Village Association, Compton Village Hall, Compton Parochial Church Council, Denise Topolski, Jane Turner, Richard Jefferies and Rosalind Lawson

Denise Topolski I put Zenzie Tinker, a textile conservator, Jane Turner in touch with Mark. Zenzie had trained I became involved with Watts Gallery - textile Heritage Volunteers in the area and Having adopted the pastel of Virginia Artists’ Village through being a NADFAS had previously packed the dress so it could Dalrymple a few years earlier, I was tempt- Young Arts Area Representative, looking be stored safely. When Zenzie examined ed by the idea of helping to preserve the after the 18 societies of West Surrey. Dis- the dress and the display mannequin, it be- beautiful green dress which Virginia wore covering such an amazing place almost on came clear that a lot of conservation work in the full-length portrait Watts did of her my doorstep was a revelation, and I be- had to done, and that the mannequin was as an adult. The dress had come into the came a supporter and Friend. no longer suitable. Gallery’s collection through the generosity of Virginia’s descendants but was in very I was very privileged to be able to visit Because of my close association with the poor condition. during the conservation and rebuilding Artists’ Village and this unique histori- process, and in discussions with Perdita cal artefact, I wanted to contribute to the I thought it would be appropriate if a Hunt and Mark Bills, we looked at how conservation and became a Patron. Seeing group of friends and organisations in the NADFAS and I personally could support the dress in situ next to the portrait at the village could contribute, and the previ- the Artists’ Village further. This is how I new gallery's opening evening was a very ous curator, Richard Jefferies, generously learned about the Green Dress. proud moment. joined in. The dress has been displayed in the Richard Jefferies Gallery.

Clytie (also known as ‘Sunflower’) Adopted by Alexander & Mary Creswell

arms suggests a real sense of movement, are that of an undeniable act of nature. We were delighted to have the although uncomfortably so. The neck is Clytie in bronze is a curiously masculine opportunity to Adopt a Watts. It has stretched, elongated, following the sun. figure, whereas the figure in the painting is been a great way of getting to know the The composition is almost baroque and muscular but far more feminine, her flesh collection a little better, and perhaps it is seems to me unlike much of Watts’s other tones and hair are delicately portrayed the next best thing to having a Watts on work. and contrast powerfully with the dark of our wall at home. That said, I would be the leaves behind as she is consumed by hard pressed to choose between Watts's In Ovid’s legend, the nymph Clytie is nature’s power. sculpture and his painting, so for us Clytie deserted by her lover Helios, the sun was the perfect painting to adopt. god. She is transformed into a sunflower and constantly turns to follow the daily It is difficult to know if Watts’s sculpture passage of her lost love through the sky. or painting of Clytie came first, though The harshness of this tale aside, I like the personally I feel the painting is a work idea of Clytie changing into a sunflower towards the sculpture. In the painting, the and pursuing her lover forever in her new flesh tones are dominant but otherwise form. the composition of the bust is virtually identical to the sculpture. The head is The strength of the physical movement lost in profile and the placement of the in both the painting and the sculpture

Lady Dalrymple (also known as ‘Sophia Dalrymple’) Adopted by Anna Dalrymple for Sir Hew Dalrymple and his granddaughter Sophia Dalrymple

My husband Robert and I are descendants of two of the Pattle sisters. Julia Margaret Cameron is my Great, Great, Great Grandmother and her youngest sister Sophia Dalrymple is Robert's Great, Great Grandmother. We named our second daughter Sophia; it is a lovely name and linked the two sisters and our relationship to them. I have seen copies of the painting for as long as I can remember, and my father in law, Sophia Dalrymple’s great grandson, likes to keep a store of postcards, which he often sends out as thank yous.

When Watts Gallery - Artists’ Village began their appeal for adoptees I liked the idea of adopting Sophia for her great grandson, Hew Dalrymple, and his granddaughter, the present Sophia Dalrymple. For me it is a very appealing painting: the simplicity of her dress, the beautiful necklace she is wearing and the still-contemporary background and colours she is standing in make it a pleasure to look at always.

Lilian Adopted by David Davis, Chairman, Surrey County Council

Lilian attracted me at the time I was the Chairman of Surrey County Council, and part of my role was to be the public face of the council’s work. Lilian, with her open, frank and honest expression, seemed to portray exactly what I was trying to be.

I discovered that Lilian in real life was an orphan who was adopted by George and Mary Watts. I hope she was happy with them until she married and then happy ever afterwards. I drew a parallel with the County Council acting as corporate parent, caring for vulnerable children and leading them, hopefully through adoption by loving parents, to a contented life. So this painting has some symbolism for me.

Full-scale gesso model for the commemorative sculpture of Alfred Lord Tennyson Adopted by The De Laszlo Foundation

his huge gesso grosso sculpture shows Tennyson and his wolfhound Karenina at Lincoln. His dog looks at him patiently with Ttenderness, as Tennyson contemplates a little root and stem of a flower that he holds in his hand. The sculpture shows Tennyson’s love of nature.

Watts was a close friend of the Poet Laureate and painted him six times during his lifetime. He started this sculpture in 1898. There were issues with structural support due to the huge size, and surprisingly, it is thought Karenina may have been introduced for support. You would not believe this to look at the sculpture, as she is such an integral and endearing part of the piece.

This sculpture was sent for casting in late 1903, but unfortunately, Watts died before seeing the completed bronze version of it erected in the precinct of Lincoln Cathedral in 1905. It is a wonderful piece and shows such tenderness in its subject. The sculpture is one that is both endearing and awe-inspiring to look at.

Self-Portrait of G F Watts Aged Seventeen (also known as ‘Self-Portrait as a Young Man’) Adopted by Dr John and Sheila Dobson

that this portrait of Watts was considered ‘I paint myself constantly; that is to say, Simon and Caroline chose Self-Portrait ‘the earliest discovered so far’. It was whenever I want to make an experiment of G F Watts Aged Seventeen for their painted immediately before Watts was in method or colour, and am not in the parents, Dr John and Sheila Dobson, who admitted as a student of the Royal humour to make a design.’ are tireless and dedicated volunteers at Academy and sums up his early ambitions Watts Gallery - Artists’ Village. Their as an artist. Painted three years before Despite Watts’s initial reticence to show support and enthusiasm for the Gallery came to the throne, self-portraits, this portrait was made very inspired Caroline and Simon to Adopt a it presents an image of the artist as a public during his lifetime. Watts as a gift for them. This painting Romantic. It shows an artist aware of his captures a youthful Romantic, set upon his own genius and fully conscious of the path as an artist, and is quite lovely to look image he wished to project. at. Watts used self-portraits as a way of As events turned out, John Dobson experimenting with style. In fact, if you sadly passed away in May 2012, and the look closely you can see a small sketch of a adoption serves as a memorial to his work seated male nude in the bottom left of the at the Gallery. painting. This demonstrates Watts’s ‘off the cuff’ approach to his self-portraits, about Mary Watts commented in her catalogue which Watts himself commented:

Endymion Adopted by Sir Andrew and Lady Duff-Gordon

We have always been particularly attracted to this picture because of its beauty and its romantic portrayal of the classical story of the moon goddess falling in love with the handsome, sleeping shepherd boy. John Keats’ poem, also entitled Endymion, has always been a favourite of ours and fits with the picture perfectly:

A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.

We do not have any links with Endymion, as most of our collection of Watts’s drawings and paintings are of family members, as they became great friends when he stayed with the Duff Gordons in Italy. Nonetheless we think it is one of his most pleasing symbolist pictures, and we like the little sheep dog in the corner.

Chalk Study for ‘Clytie’ Adopted by Colin Ford CBE and Sue Grayson Ford MBE

(1871) and Angel Removing the Curse of painters of the period, including Edwin y link to G F Watts comes from nearly M Cain (1885). I later read in Mary Watts’s Austin Abbey (1852-1911), Jean Léon forty years’ interest in his close friend Julia biography of her husband that ‘the muscles Gérôme (1824-1904), Margaret Cameron, the great Victorian for the Clytie were carefully studied from a Richmond (1842-1921), Frederick Sandys photographer, who took many portraits of well-known Italian model of the name of (1829-1904) and John Singer Sargent him. When I visited Watts Gallery in 1975, Colorossi.’ So you can see what attracted 1856-1925). researching my first book on Cameron, Sue Grayson Ford and me to Clytie! the then curator, Wilfrid Blunt, showed me My identification of Colarossi has been some of Watts’s works which were not on In fact, my research led me to discover unchallenged for 37 years, but a recent display. In one, an early version of The that the model’s correct name was Angelo article in the British Art Journal has rather , I believed I recognised the Prodigal Son Colarossi, who – as one biographer of persuasively suggested that the model model used by Cameron in one of her John Singer Sargent wrote – ‘was among was actually Alessandro di Marco. If I most impressive pictures, Iago – Study the most famous of the model have been wrong all this time, I have no (1867). from an Italian hierarchy, most of them Italians, who had problem in accepting the fact: history – been found to possess in greater degree especially art history – moves on. But Wilfrid told me that the man was than the English the feeling for classical nothing will shake my admiration for Alessandro Colorossi, and that he also stance required by the art of the period’. Colarossi, for Watts and for the drawing of appeared in Watts’s paintings Genaro – Colarossi also posed for several other Clytie, which my wife and I have adopted. an Italian Nobleman (1864), Samson

Aristides and the Shepherd Adopted by The George John and Sheilah Livanos Charitable Trust

The Hope Appeal was a great challenge, and we the Trustees of The George John and Sheilah Livanos Charitable Trust were so glad that we were able to support the Appeal. We are most appreciative that Watts Gallery Trustees so generously named the entrance gallery as The Livanos Gallery. It seemed to us to be very appropriate, therefore, that we should adopt the great Watts picture of Aristides and the Shepherd to hang on the end wall of the Livanos Gallery.

Aristides, the Athenian statesman, played an important role in the great naval battle of Salamis in 480 BC when the Persian fleet was defeated. The combination of Athens and the naval connection encouraged us to think that this was an appropriate picture to sponsor in memory of George Livanos, a Greek seafarer and shipping man all his life, and his beloved Sheilah who so generously created the Charitable Trust.

The Wounded Heron Adopted by Alastair Gray OBE and Lyn Gray

such a young artist, is most obvious in fashion and sport is also shown in this As soon as we became aware of the Watts’s delicate treatment of the feathers, work. Although it appears to be a fine still Adopt a Watts scheme, we decided to try particularly around the head and eyes life study, the background shows a falconer and adopt a picture. What we were looking of the bird. Watts saw this heron in the with a large feather in his cap, riding for was a picture around which we could window of a poulter’s shop and had to forwards to fetch his kill, while the viewer build a story. paint it as quickly possible, which makes is drawn to the bird’s eyes and face, adding the achievement all the more impressive. pathos to the apparently simple scene. The first thing that struck us was that this Although it was sold at the Royal was the picture we first saw on entering Academy exhibition that it appeared in, We hope this painting continues to inspire the old gallery several years ago. A lifelong Watts was offered the chance to buy people to think about bird conservation interest in ornithology reinforced our it back 50 years later, which he took. and be proud of all that has been achieved thoughts on adoption, coupled with G However, when he saw the painting again in the last 110 years or so, helped so F Watts’s prescient pioneering stand on he was depressed, claiming that it showed powerfully by Watts’s pioneering efforts. cruelty to birds. On top of this was the fact he couldn’t paint any better than all those that Watts hung this painting in the Royal years before! Lastly we have achieved a goal, to find Academy in 1837, at the incredibly young a way of remembering cousin Cathleen age of 17 years old! Watts’s revulsion at the cruel treatment Cooper (1935-2010), much-missed friend of birds, which he viewed as a symbol of and relative, who loved Watts Gallery. The skill shown in this painting from innocence and purity, and their use for

Mary Seton Watts’s Diaries Adopted by Dr Desna Greenhow

Mary Watts’s Diaries have a great fascination for me. I first looked at them when I was studying her interest in symbolism, as it appears in her ceiling decorations at Limnerslease, and in Watts Chapel.

The tiny writing presents a challenge, but when I started to transcribe them, I realised that these were Mary’s intimate thoughts, written either in the early mornings or at the end of long, usually interesting days. I am sure she did not write them for posterity, and they show the daily preoccupations of someone who was very much her own person. Besides her concern for Signor, her husband, we gain a picture of the varied people who visited them, household problems as they appeared in the 1890s, rides in the afternoons, the Sunday walk to Puttenham church (she did not like the vicar at Compton) and, above all, their cosy evenings reading and discussing in their beloved niche at Limnerslease.

Hearing that the diaries needed conservation, I was very happy indeed to adopt them.

Pencil Thumbnail Sketch of 'Hope' Adopted by Virginia Heffernan

uphill journey and chanced again upon which captures her posture and sentiment I discovered Watts Gallery - Artists’ Watts Gallery. Entering the gallery for the but with a special simplicity and freedom. Village during the summer of 2011 whilst first time I was amazed at what I found running the North Downs Way. To be there: firstly at the impact of the paintings G F and Mary Watts were passionate about honest, I discovered The Tea Shop rather and sculptures, then by the friendliness bringing hope to a society that left many than the gallery at that stage. of the volunteer guides. Finally I was in poverty and despair, and they expressed mesmerized by the painting of Hope this both through art and through practical I was running the hills quite frequently hiding somewhat shyly in a corner of the involvement in their local community, because I had sadly fallen prey to anorexia green gallery. How perfectly Watts had giving training, apprenticeships and nervosa and the associated disorder of captured this slender girl in a darkness employment to local people with little exercise addiction, but the delicious tea seemingly of her own making, crouching education or prospects. served by friendly staff drew me in pretty close to hear the tones from her little harp, well every time I passed that summer. to avoid slipping off the world. The Adopt a Watts Scheme allows us to Things went downhill during 2012, and by contribute to our art and heritage, and the end of that year I had lost my job and Very soon I was enrolled as a volunteer to the wonderful work that Watts Gallery been in and out of hospital. ‘Hope’ was a and Friend. I discovered that Adopt a Watts Trust does to help those in difficult word very much in my heart. offered me a chance to make a real and circumstances to express themselves and long-term connection with Watts’s special perhaps find hope for their own uphill In the early days of 2013, I began my painting. I adopted a tiny pencil sketch path.

Sunset on the Alps Adopted by Susan and Anthony Holmes

We first sawSunset in the Alps in the Painting the Cosmos exhibition of G F Watts’s landscapes at Nevill Keating Pictures in St James's in June 2006. That exhibition of his glorious landscapes fired our interest in Watts and began a continuing journey for us into his world and the great project to save Watts Gallery.

We have adopted this picture because we feel that we have been really involved in the Hope Appeal, and we just love the picture with its towering image of mountains and clouds in such rich and dazzling colours. We feel closer to Watts having adopted this soaring masterpiece.

The Good Samaritan Adopted by Henry and Betty Jones

style, painting universal ideas. On a visit prior to the successful In Luke 10: 25-37 the parable describes renovation of Watts Gallery, it became how the Samaritan provided immediate Watts exhibited The Good Samaritan at apparent that the rebuilding alone would and ongoing care. More poignantly Jesus the Royal Academy in 1850 and stated not restore the Gallery's former splendour, commanded, ‘Go and do thou likewise.’ in the exhibition catalogue that it was and that if ever this could be achieved then ‘painted as an expression of the artist’s substantial funding would be required for Watts returned to London from Italy admiration and respect for the noble restoration of the paintings and works of in 1847 to find a changed and philanthropy of Thomas Wright of art that had become damaged, neglected or artistic climate. He was greatly disturbed Manchester.’ were simply in need of some TLC. by poverty in London and Ireland, and he showed this in his paintings from this time, Wright worked to help former prisoners Before the formal re-opening, many such as Found Drowned. Such paintings get back on their feet and ‘turn felons of the paintings displayed were clearly were starkly realist in nature and were not into citizens’, a mission that Watts was distressed, most especially, in my mind’s easily consumed by the public. The Good most interested in and one that the Artists’ eye, The Good Samaritan. And so it was Samaritan was a turning point for Watts, Village continues to assist through its that perhaps my underlying Christian in which he expressed his concerns about successful and inspirational Big Issues belief kicked in, and I elected to adopt this social issues through symbolism. Following programme. wonderful painting of such telling depth this, Watts rejected realist paintings and and magnificence. continued to express himself in a symbolist

Black and White Chalk Study of a Cast of the Right Hand Adopted by Sir Mark Jones

This drawing is one of a number of academic studies by Watts and may well have been used by Watts as a presentation drawing to gain entry to the Royal Academy Schools in 1835. The drawing is quite unusual as it shows a downward angle, and the shadow is shown with a network of parallel lines.

This drawing is a study of a plaster cast of a female hand, resting on a base. There is a real sensitivity to this work. It was through his drawing that Watts’s father recognised his son’s ability and sought a way to develop his talent.

When Watts was 12 years old he entered the studio of sculptor William Behnes, where he experienced academic study pieces, such as this one, and also casts after antique sculptures.

This drawing really represents Watts at an early stage and shows the talent of a young artist at the beginning of his career.

Black Chalk Study for ‘The Minotaur’ Adopted by Sir Mark Jones

This drawing is so close to the painting that it is likely to be a copy of it, rather than a preparatory study. As the painting was so often on loan, it is likely that this drawing was made so that Watts had his own version.

The drawing is after the legend recounted by Virgil, Ovid and Dante. The Minotaur was a hybrid man-animal, the child of an adulterous union between Queen Pasiphae, the wife of King Minos of Greece, and a bull. It was confined to the labyrinth on Crete, and every nine years was sent a sacrificial group of Athenian youths. This drawing shows the Minotaur looking longingly out to sea, awaiting this sacrifice.

There is such longing here, and the glimpse of his eye desperately looking out to the horizon is quite transfixing. He is so entranced that he crushes a small bird in his hand: desperately sad and disturbing.

As with many of Watts’s works, there is a social analogy here, and many believe that the Minotaur is Watts’s response to the issue of child prostitution.

Pencil Thumbnail Sketch of ‘Hope’ Adopted by Sir Mark Jones

The composition of Hope began as a series of small sketches of a bent figure, swathed in drapery, pressing her ear to a lyre. They resulted in two main oil versions.

There is a sadness to the pictures which belies the title, and it is true that Watts was at one of his lowest ebbs when he worked on this subject. His adopted daughter had recently lost her young baby, which is believed to be one of the reasons for his sadness. And yet the one string on the lyre presents the reason of the title: amidst all our sadness there must always be a strand of hope to keep us moving forward.

Surrey Woodland (also known as ‘End of the Day’) Adopted by Lady Laidlaw, in memory of Helen Violet Pritchard

Whilst living in Compton, the surrounding countryside provided a great source of inspiration for Watts. The landscape shown in End of the Day is characteristically Surrey and confirms Mary Watts's comments that it was ‘painted at Limnerslease from impressions gained from the surroundings.’ It is not a representation of an actual view of any particular area, but rather it is an imagined landscape based on Watts’s impressions of the countryside. This gives the painting an abstract feel.

The colours are warm and atmospheric; there is richness to the picture which draws you into the beauty and comforting nature of the scene. It is really this intensity of colour and feeling that supports the title of the painting: a beautiful twilight that one could look at and soak in for much time. This reminds me too, that Watts painted this scene when he was in his twilight years.

Watts wrote that ‘Art is not a presentation of Nature; it is a representation of sensation.’ This is shown very much in End of the Day.

The Irish Famine Adopted by Ann Laver

Famine, was published in 1847 after two Year of Sorrow (1849) had been written hen visiting Watts Gallery after it had W wealthy students from Oxford, shocked by by his friend, Irish poet Aubrey Thomas re-opened, I remember lingering in front what they saw, published it to raise funds. de Vere. Vere had visited Watts in London of . The painting portrays The Irish Famine One of the students was Lord Dufferin; during 1849-50 when Watts had a studio a mother and baby, barely alive, directing his family seat at Clandeboye near Bangor, at 30 Charles Street, Berkeley Square. pleading looks towards her husband to to which he succeeded in 1841, was far provide food. This group stands for the removed from the sight at Skibbereen. This painting was, for many years, not tragedy in which a million people died Much later, Watts painted Lord Dufferin exhibited; it was finally shown 32 years due to policy failure and potato blight, for his Hall of Fame. later. It offers a background of social and where the population fell by 20-25%. history, mystery and connections. The Irish The dark background is not like a green Watts had been in Italy from the spring of Famine has mystery in that Watts painted lush Ireland summer but brings home the 1843 until about April 1847 and had not it over another partly-finished painting misery of the family. yet been to Ireland when he painted The meant for the wealthy Ionides family, Irish Famine. The painting was originally visible on an X-ray. I am proud to have Early in 1847, scenes were reaching known as The Eviction and was Watts’ adopted such a painting. people through pamphlets, poems, images vision of the famine in Ireland. and newspaper reports. One pamphlet, Narrative of a Journey from Oxford to One of Watts’s sources was poetry. The Skibbereen during the Year of the Irish

Full-scale Gesso Model for ‘Physical Energy’ Adopted by John Lewis OBE

The colossal gesso grosso model of Physical Energy resides at Watts Gallery and is a stunning part of the collection. The way in which it is shown also truly enhances not only the piece itself, but the whole gallery. The open doors, as you walk outside the gallery to the entrance, reveal the dramatic sculpture and add a sense of excitement and anticipation to any visit.

Watts’s own explanation of the sculpture was contradictory, encompassing action and existence, materialism and the cosmic. It was at once symbolic of man achieving yet more in the material world, yet also suggestive of man as part of creation.

Watts himself described it as ‘man as he ought to be – part of creating, of cosmos in fact, his great limbs to be akin to the rocks and the roots, and his head to be of the sun.’

It is wonderful to be associated with this magnificent sculpture. It is such an inspirational part of the collection and so beautifully displayed.

May Prinsep Adopted by Lucy and Tim Lindholm

aunt) Julia Margaret Cameron. sophistication of the woman whom the Signor was always part of May Prinsep’s girl became, and had lain in wait for an life, and she of his. Born in India, the After May married stockbroker Andrew opportunity to adopt it since at least 2007. youngest daughter of Charles and Louisa Kinsman Hichens, the couple built a Prinsep, and the family darling, May was country house on the Hogs Back at still a toddler when she tragically returned Compton. The Monkshatch visitors book ‘home’ in 1855. Her mother had just shows George and Mary Watts to be one died after childbirth, and her father was of the Hichens’s first guests. Not long paralysed by a stroke, so May was cared after that, Andrew bought the Wattses land for in large part by her aunt and uncle, nearby and on it built Limnerslease as Sara and Thoby Prinsep, at Little Holland ‘winter quarters’ and an escape from the House. city for his friends. The couples remained close until Watts’s death, and all are buried There May was exposed to the great and at the cloisters of Watts Cemetery. the good of the day, most notably Sara’s artist in residence G F Watts, who painted May was also central to our research May a number of times. She also sat for into the circle of the Prinsep family. Leighton, her pre-Raphaelite cousin Val We’ve always loved this sweet, wistful and pioneering photographer (and May’s portrait, which does not yet show the

For He Had Great Possessions Adopted by Marina Logan-Bruce

of our society. The figure appears to be meant for me so I snapped him up. My first sight of this painting was in weighed down by his ‘possessions’ or the crypt of St Paul’s Cathedral in late wealth. He is almost buried by it, his head 2008. It was one of a number of Watts’s tilting away in sorrow as he realises he symbolist works forming the Parables cannot or will not swap his materialist in Print exhibition being mounted there lifestyle for a spiritual one. during the renovation of Watts Gallery. I was not, at that time familiar, with Watts’s As a non-believer my understanding of the work and to be honest did not particularly work is probably superficial. I do not dwell like or understand some of these paintings. on the precise meaning of the rest of the However, this one caught my imagination. parable. Watts has captured my thoughts on the matter in this one painting, and it Although not a large painting, it summed is quite shocking to realise that, nearly 115 up for me everything that was going years after it was painted, some things have wrong with our society at that time. The not changed. financial crisis was in full swing, the greed of parts of the banking sector was being I was surprised but delighted to discover exposed and Watts’s rich young man quite recently that no one had yet adopted epitomised to me many of the failings this work. I took it as a sign that he was

Progress Adopted by Philip Martyn

There is also a strong spiritual, divine and Watts felt time’s heavy hand for some religious sense here. time and painted a number of over-sized paintings, including Progress, which were As so often in Watts’s work, this spirituality nothing less than life affirming. The ideas and warmth is juxtaposed by the dark, of creation, evolution and progress were bowing figures below that represent of great fascination to Watts and permeate materialism and backwardness. These many of his works. This painting shows figures can be seen as representations both progress and the antithesis of it. of vanity, lust, sloth and greed: all characteristics which hinder progress. The white horse and rider, taken, I believe, from Watts’s admiration of young I find this painting truly inspirational to Persian horse riders, is the embodiment of look at. It reminds me of the glory and progress, bathed in a beautiful warm and wonder of progress, and all those negative empowering glow. The horse and its rider aspects of life that are overridden when are portrayed as true conquerors, cutting a one moves forward and really gets on with swathe thorough the old, and surrounded life. by a burst of sunlight. There is a real power, glory and ferocity to this figure.

Fiesole Adopted by Alan Midgley and Jan Chapman

the world but never, until 2011, to Fiesole. n 1968 Watts was so far from the public I High above hot and crowded Florence consciousness that he couldn’t even be wandering in the Roman ruins and then called unfashionable. The Gallery at a summer wedding in the cathedral, we no longer had a Watts Room but still were smitten. displayed a selection of his works. So when we realised that Watts’s early When Jan became a fan, she pursued landscape was available to adopt, we had him all over the capital – Postman’s Park, no choice! Kensington Gardens, Holland Park… but never to Compton. A move to Surrey We are delighted to have become in the mid-1970s brought Watts Gallery philanthropists in a small way and, in doing within reach. Dilapidated but romantic and so, to help assure the future of the Watts charming – we never wanted it to change. Gallery - Artists’ Village collection. But then the Hope Project showed what was possible, and we became Friends of the gallery.

A passion for travel has taken us all over

A Parasite Adopted by NADFAS Society in the East Surrey Area

Watts Gallery - Artists’ Village has always been a favourite of NADFAS members in East Surrey, so they were delighted when the opportunity arose in 2008 to Adopt a Watts for conservation while the Gallery was closed for its major refurbishment.

We wanted to be associated with a painting that encapsulated the inspiration Watts took from Surrey, and from those offered,A Parasite was chosen. The knowledge that Watts had viewed the tree from a window at Limnerslease and been captivated by the shining ivy leaves winding their way innocently upwards on the heavily textured bark very much attracted us.

Far from appearing to smother the tree, the ivy has an unthreatening beauty, carefully climbing upwards, encircling the tree with no hint of the insidious outcome of its ascent, all against the backdrop of the lush Surrey landscape beyond. Perhaps the reference was to the changes that the new century might impose on the rural idyll of Compton.

Looking back a century, we appreciate how the ivy’s message would appeal to Watts’s allegorical style, but fortunately an unspoilt Limnerslease still nestles in the Surrey Hills today.

John Stuart Mill Adopted by Robert Napier CBE

John Stuart Mill was a giant of an intellectual and campaigner. His strongly argued views on liberty, freedom of speech, women’s rights and much else were ahead of his times and hugely influential in changing political winds. As former head of WWF, I applaud his views on the environment when he said, ‘The conclusion of unlimited growth is destruction of the environment,’ and that was written 150 years ago!

Indeed Watts considered Mill to be ‘one of our most profound thinkers’ and was keen for him to be included in his Hall of Fame. It is thought that this is the only portrait that Mr Mill, as Mary Watts described him, sat for. It was commissioned by Sir Charles Dilke on 17 March 1873 and was painted quickly, as Mill left for France by April and had died by May of the same year, making this likeness even more poignant. Although the first portrait from life went to Sir Charles, this version was painted by Watts as a copy for him to keep in his own collection, where it remains.

Miss Virginia Julian Dalrymple (also known as ‘Mrs Francis Champneys’) Adopted by NPU Consultants

Virginia Dalrymple was the daughter of Sophia Dalrymple, who often sat for Watts. This was not a commission, and this is shown by the experimental nature of the portrait.

This portrait of Virginia is an extraordinary image showing Watts going beyond the accepted conventions of the portrait into a more imaginative and innovative realm. As a portrayal of a beautiful young woman, the painting brings a new focus on colour, fashion and setting. The intense green of the dress is quite arresting, as is the contrast with the beautiful little coral flowers and necklace. There is a focus on the style of the dress – its folds, tightness around the waist and gathering at the neck and arms. The colour and style is unusual for the times, and shows Virginia’s aesthetic style. It is a fashion statement.

Rachel Gurney Adopted by RichardOrmond CBE and Professor Leonée Ormond

We admired the portrait of Rachel Gurney because she has an easy and independent air as well as being very beautiful. It is easy to imagine her breaking the rules and going her own way, as was evidently the case. She is not one of your straight-laced Victorian ladies.

Watts chose to portray her in a simple black dress, but this does nothing to diminish her warmth and her sensuality. Watts had known her since childhood, and you can sense his admiration for her qualities of beauty and personality. She seems to be engaged in a dialogue with him in this intimate characterization.

Large Chalk Study of the Figure of Messenger for the oil painting ‘The Messenger’ (also known as Study of a Draped, Standing Female Figure with an Infant) Adopted by Peter Palmer

with chiselled features. Far from presenting Why Watts Matters I was happy to adopt a sketch, albeit a a winged angel, Watts’s Messenger evokes very finished one, because it reflects the a statuesque madonna in Greco-Roman When it was fashionable to debunk artistic artist’s hand at its most immediate. This dress. high-mindedness, critics dismissed Watts as figure has a stunning, evocative richness – just a wacky Victorian. But Arthur Symons, all the more so in the greater context of The face of the Messenger is similarly a leading Symbolist author, had previously the human life cycle. enigmatic. Severe, yet not merciless, put his finger on Watts’s genius: this face surely reflects an admiration The Messenger has also been called The for Raphael’s Sistine Madonna. Watts’s ‘In such pictures as Hope, as Love and Life Messenger of Death, Angel of Death or Messenger is looking downward toward and as Love and Death, as in such simpler Message of Peace. One contemporary the recumbent mortal in extremis, but single figures as Psyche and the Eves, it is described the principal figure as an she also seems to be looking inward; a the picture that makes the meaning, and angel of rest; another, in verses inspired hallmark of Symbolist art. not the meaning that makes the picture. by the picture, as a consoler and nurse. [Watts] felt nobly and could paint greatly. What first struck me about her is the While essentially Romantic to my He paints always with a sense of the utter originality of Watts’s vision. Here, in mind, Watts’s handling of the subject glory of the world, of human glory, of the contrast to the grim reaper of European of death carries not a jot of morbidity supreme glory of the spirit.’ tradition or the fantastic angels of Carlos or sentimentality. His composition is a Schwabe, stands a well-muscled woman miraculous blend of sweetness and rigour.

Found Drowned Adopted by David Pike

My second choice was one of the most haunting and iconic paintings in the whole gallery which, when first seen, was in a sorry state and sorely in need of care and attention. The transformation to Found Drowned is now clear for all to see, a beautiful image of a sad end to the life of a young girl, all too common at the time it was painted and to which Watts was keen to draw the attention of a wider public. Literally a fallen woman, this painting is capable of causing a shudder, but is nevertheless very powerful.

When I first saw this iconic and moving picture, not only did I feel that it was sorely in need of care and attention, but also that I would be happy to pay what it takes for conservation to bring out the hidden depths which must surely be there under all the dark of the background.

Lillie Langtry (also known as ‘The Dean's Daughter’) Adopted by David Pike

In my own collection I have always been drawn to figurative paintings and portraits and indeed was first attracted to the works of G F Watts by an exhibition at the National Portrait Gallery in 2004. Against a green background, the youthful Lillie Langtry in profile looks delightful.

Eve Tempted and Eve Repentant Adopted by David Pike

When I first saw this striking pair, the images were sorely let down by very substandard framing. In my experience, the way pictures are presented can make a world of difference. This is not always recognised, and framing is costly. Hence the need for adoption, which I am pleased to say has transformed the outcome.

Green Summer Adopted by Keith and Sue Rawlings in celebration of John and Sheila Dobson's 50 years of marriage

Sue and I have had the good fortune of not only to each other but to Compton In 1890, George and Mary Watts being close friends of John and Sheila and the Gallery, we could think of no commissioned Ernest George to build Dobson for over fifty years (and were, in better way of commemorating the warmth them a house in Compton, Surrey. It fact, bridesmaid and usher respectively at of our friendship with them than by became known as Limnerslease. Having their wedding in Canterbury Cathedral). adopting a picture of a view that they love settled there, George and Mary used the They lived almost all of their married and by an artist that they regard so highly. house as both a home and studio. Green lives in Compton and have grown to love Summer was painted by George towards dearly the people, the village life and the This is part of the reason we adopted this the end of his life and depicts the view scenery. They have devoted endless hours picture. We have lived in Compton for from their studio at the height of summer. and energy to Watts Gallery - Artists’ many years and enjoy the same Village, and the Gallery has come to mean beautiful scenes in Summer. Mary Watts commented in her catalogue: a very great deal to them. ‘Painted from the window of the studio at Limnerslease. The view studied is the first We had been looking forward greatly instance for the purpose of seeking out to celebrating John and Sheila’s Golden the variety to be found in the full green Anniversary at the Gallery in October of summer. This picture occupied him at 2012, but sadly illness prevented John intervals for three years.’ from reaching this precious milestone. As a memorial to John and Sheila’s dedication,

Love Triumphant Adopted by Mark and Deborah Rees

Adopting the painting Love Triumphant began as an idea for a birthday present for my wife Deborah, although our initial interest in the work of G F Watts came about due to Deborah’s degree and subsequent post-graduate studies relating to the Pre-Raphaelites, a literary and artistic movement that she has always admired.

The realisation that Watts Gallery - Artists’ Village was only a short distance from our home in Horsham has enabled us to make several visits to enjoy his work and purchase a number of prints.

We both agree that Love Triumphant is a special example of his work and deserves to be in the collection available to visitors to the gallery. Having been made aware of the Adopt a Watts scheme and discovering that the painting was available for adoption, I did not hesitate in arranging to fund the restoration and preservation of this glorious painting for the public, and my wife in particular, to enjoy.

Florence Nightingale Adopted by Jim and Patricia Rothman

Everyone knows Florence Nightingale for her contribution to nursing, but we adopted her portrait because we admired the way she used and communicated statistics to improve public health. Florence Nightingale saved lives in the Crimea not just through nursing but by using statistics to show that many more soldiers died from disease than died from their wounds.

Few people would have added the painstaking collection of statistics to the labour of nursing in such terrible conditions. Having done so, even fewer would have taken the trouble to develop ingenious and effective diagrams to persuade others of the truth of their findings. After her return, Florence Nightingale continued to use statistics in her battles to reform not just public sanitation and the profession of nursing, but also the War and India Offices. Never has a statistician been so popular, and few have done so much.

Thomas Hughes Adopted by Rugby School

of Rugby, who was to unveil the statue. It wisdom of a man as to have earned for We were delighted to sponsor Thomas was said that his contemporaries could not himself the title “the most distinguished Hughes as part of the Adopt a Watts have chosen a better way of perpetuating schoolboy that ever lived”.’ scheme, as Thomas Hughes is one of Thomas Hughes’s memory than by the the great Old Rugbeians. The Meteor, positioning of the statue facing the School Rugby School’s magazine, describes the Close where he learned to play cricket 1899 Speech Day as a ‘memorable one’, and football and ‘imbibed those qualities because on that occasion Old Rugbeians which go towards making a man notable were honouring Thomas Hughes, who had and brave.’ died in 1896, aged 74, and who the Editor wrote ‘perhaps more than any other had Thomas Hughes is represented standing been a worthy disciple of the great leader bareheaded with a pen in his right hand – Dr Arnold – at whose feet he sat.’ and a book carelessly in his left. The pose is dignified but easy. The face according The Rev Dr James, the Head Master, to a report of the time ‘suggests the began by welcoming the ‘brilliant and character of the man who, impatient of fashionable gathering’ which included sham, yet schooled himself for charity’s Frederick Temple, the Archbishop of sake to tolerate the intolerable, and who Canterbury and the former Head Master so combined the heart of a boy with the

Wax Maquette for oil painting ‘Love Steering Boat of Humanity’ Adopted by Sarah Selzer (former Surrey County Councillor in Guildford 2005-2009)

What’s fascinating too, is the context of the sustaining faith that the hand of Love As Surrey County Councillors, we each the picture: Watts was interested in current directs his course.’ had an allocation to support community affairs and the social problems of his time, projects either in our county division or and he began illustrating this interest As with so much great art, the subject the wider Guildford area. It was proposed through social realism paintings. When matter is very relevant to today and an I spend a small sum from my allocation he realised that public opinion found this inspiration. on adopting this wonderful, sumptuous a bit too much, he switched to a more painting, which I was delighted to do. symbolist form of painting. Watts Gallery - Artists’ Village is very much a jewel in the Surrey crown, and our As Mary Watts sets out in her catalogue of whole committee of county councillors Watts’s works: didn’t hesitate to agree to the funds. So I suppose this painting has been adopted by ‘This picture is the first expression of the Guildford residents. painter’s thought upon this subject. The Nation’s suffering during the war in South It is a beautiful work, and has such a Africa prompted its conception. Man’s calming effect – a welcome treat in my condition of conflict in the midst of forces, busy life when I look at it! from above and below, the recognition of his own impotence to control, yet with

Song of the Shirt Adopted by A Sempstress (anonymous)

than starvation. hated the garment I was sewing but ‘had’ In 1850 the price paid to a seamstress for Watts understood the plight of these to keep on to finish it. sewing a shirt was between two and three women and chose to paint the situation pence, out of which they would have had as it really was, rather than a more I have remained anonymous in respect to supply the needles, cotton and thread, commercial, prettified version of the truth for all the un-named and largely un- leaving around one penny three farthings. as other artists (Redgrave, Holl, Milais remembered seamstresses of the past. On average it took five hours to make a and Blunden, to name a few) had done shirt, so to earn four shillings a week it or would go on to do. The result is so * Amounts culled from Mayhew’s research was necessary for them to work from at powerful, I defy anyone to stand in front for ‘The London Labour and the London least 5am to 9pm every day, but that would of this painting and eat a biscuit without Poor’ mean spending up to two shillings and six guilt. pence on candles. I adopted Song of the Shirt because I Most seamstresses therefore had to find understand in a small way the depths of rent, food and clothing out of one shilling despair depicted. Although it has never and six pence a week, whereas a shirt sold solely put the food on my table as it did for one shilling.* It is little wonder that (or didn’t) for this seamstress, I have sewn many of the women were forced to turn all my life. There have been times when, in to prostitution as the only option other the early hours of the morning, I too have

A Sea Ghost Adopted by Shalford Decorative and Fine Arts Society

then lost again. The disabled ship loomed monochrome landscapes and always A Sea Ghost was inspired by the weather strangely through the fog, and the two reminds us of those paintings too. conditions during G F Watts’s honeymoon pictures Off Corsica and The Sea Ghost voyage with his second wife, Mary, in were painted later from the impressions of 1887. In 1912 Mary wrote extensively that day.’ about their honeymoon travels and described Watts’s artistic inception of the The painting demonstrates Watts’s interest picture in detail: in different atmospheric phenomena which he explored time and again in his ‘At Messina our boat was told to tow a work. As with many of Watts’s landscapes, disabled sister ship of the same line (the the painting reflects his memory of scenes Messageries), and all passengers were rather than reality; they dwell in the artist’s given the option of staying on board, to memory and take on a dreamy, thoughtful travel more slowly, or removing to another feel. Messageries boat ready to start at once. We… preferred slowly coasting round The painting can be observed in many Italy… A summer sea fog drifted about different ways: as a ship in mist or fog, or us one day, through which Corsica was indeed, if you look closely, within a halo. suddenly revealed like opal and pearl, and It has often been likened to Whistler’s

The Slumber of the Ages Adopted by John and Kate Siebert

dressed in flowing, ageless garments and genre? Is the woman a symbol of the past, I am not generally terribly keen on framed by what appears to be a blood red the Ages, history? Is the child a future that symbolist paintings, so when considering sun, setting against the backdrop of fiery has to look forward without any of the which painting to adopt, I turned first to mountains. assurance of the past? the more accessible portraits and images of social significance. But the more I looked In contrast, the babe is naked, almost The publication of Darwin’s works in the around the gallery, the more I was drawn aggressively so, as its pale body is in such 1850s and the consequent loss of the old to The Slumber of the Ages. contrast to the rich but sombre colours certainties seem to pervade this painting. employed elsewhere. The child is half It is not an image of certainty, but the At first glance we see a woman with turned away from us, as if wishing to painting seems to me to insist on life’s a child on her lap, but it is hardly a nestle in the breast of the woman. The continuing possibilities. Madonna and Child, with the associations eye is apprehensive, the little fists almost of maternal tenderness and enduring clenched so that the child seems to be The more I see this painting, the more I love. The two figures are monumentally taut with anxiety. It is an image both of admire it, not just because it is beautifully classical, almost as if carved from stone. vulnerability and stoicism. painted but because in its ambivalence The woman’s arms rest near the child, but it speaks of possibly irreconcilable they are not protectively embracing, as she So what are we to make of this – an image complexities. I may never understand it, appears oblivious, lost in her slumber, head that seems to be deliberately subverting but it is a visual poem that haunts me. falling back away from the infant. She is the certainties of the Madonna and Child

Violet Lindsay Adopted by Julian Spencer-Smith and Derek Tanous

Watts not to carry it any further. crevices of the cracks on the face, and the Violet Lindsay was a talented artist I was drawn to the painting as I paint on the face was seriously cupped and society beauty who was portrayed by particularly like sketches and unfinished (raised), which enhanced the impression many distinguished artists. G F Watts knew works that show the earlier stages of of cracks. We successfully removed the the Lindsay family well and came to know construction of the painting. In particular, dirt and relined the original canvas with Violet through her father, Charles Lindsay, I felt that this painting was one of the most the traditional composition glue method, and her great uncle, Sir Coutts Lindsay, fragile and in the most vulnerable state in which remedied the cupping of the paint the owner of the avant-garde Grosvenor the collection, and I was keen to use my and brought back the original smoothness Gallery. Watts painted four different experience as a painting conservator to of the face surface. portraits of her between 1879-81. personally restore it to a high standard. The beautiful gold leaf Watts replica frame Violet, later Marchioness of Granby and The canvas was dirty but never received was produced by frame maker, Derek Duchess of Rutland (1856-1937), had the essential protective coat of varnish. Tanous, also as part of the Adopt a Watts developed an interest in art at an early Consequently the paint was not scheme. age and was at the peak of her powers sufficiently strong in its binding and had when Watts painted her. This unfinished started to deteriorate, which made the painting by Watts became a study for surface cleaning challenging as we had another finished portrait, as Colonel to ensure no paint would be removed in Lindsay, overwhelmed by its beauty, begged the process. Dirt had ingrained into the

Iris Adopted by Dr Nicholas Tromans and Dr Alison Smith

When we decided we’d like to do our little bit to help Watts Gallery - Artists’ Village by adopting a picture, the choice was, to be honest, rather easy as we have a daughter named Iris. She was born in 2004, around the time it became clear that the life of the original Watts Gallery was coming to an end, and that an exciting but daunting new chapter in its history would have to begin.

The picture itself seemed to suggest a new birth – a brilliant but uncertain idea taking form. It is wonderful to think it was painted by Watts at the very end of his long life.

Colour Chalk Study of Virginia Julian Dalrymple Adopted by Jane Turner

Castle. I remember the day the beautiful little chalk drawing of Virginia Dalrymple ar- I love the freshness, simplicity and rived at the Gallery. The then curator, innocence of the little pastel of Virginia Richard Jefferies, brought it out to show Dalrymple. I was also drawn to the me, and I immediately fell in love with it. romance of the whole story of the Pattle I suggested he should have postcards made sisters — all seven of them — their origins of the image as I was sure it would be a in France where I had lived and worked best seller, and sure enough, it flies off the for many years and then in India where I shelf even today! was born and brought up, a third genera- tion Anglo-Indian on my mother’s side. Virginia was the daughter of Sophia Pattle, and was named after one of Sophia’s sis- By adopting this exquisite little portrait, ters, Virginia. Watts had fallen in love with I feel that, in a small way, I am part of the Virginia and painted a beautiful full-length future of Watts Gallery - Artists’ Village portrait of her which had been admired and can share in the conservation of the by Lord Eastnor, later Earl Somers, and collection so that generations ahead of as a result Lord Eastnor married her. The us can learn to enjoy and appreciate the portrait of Virginia Pattle hangs in Eastnor works of G F Watts.

After The Deluge Adopted by Dr and Mrs John Vardon

to represent the sun bursting through the We were drawn to After the clouds that had hung over the earth for Deluge when we first saw it in a rather forty days after the great flood, described unflattering frame (and before it had in Genesis. The sun is uncovering been cleaned and reframed) because the the waters over the Earth as they are apparent, superficial simplicity of the beginning to recede. scene depicted is belied when one stops to consider the painting. Somehow, the Mary remembered Watts himself painting provides a link between Turner explaining, ‘I have not tried to paint on the one hand and the Impressionists on a portrait of the sun - such a thing is the other. Now cleaned and reframed, it is unpaintable - but I wanted to impress you the best painting in Watts Gallery. with the idea of its enormous power.’

The Adopt a Watts scheme provided a This work is certainly intended to show highly personal means of supporting Watts the divine in nature, and the dramatic Gallery - Artists’ Village, and we decided to sweep of colours is the painting of an idea, adopt this work for the above reasons. rather than a specific and very detailed landscape. The painting itself was conceived by Watts

Paolo and Francesca Adopted by Lady Verey

picture glowing against the red walls still I first saw and fell in love with this Watts first explored this subject in the 1840s sends shivers down my spine. I think that picture when it was lent to the Tate. And whilst he was in Italy. He went on to paint it is one of the most romantic images ever it was as a result of that, I discovered Watts four versions, of which this is the last and painted. Gallery and became a Trustee. most complete. It is universally recognised to be one of his greatest achievements, The picture depicts the adulterous lovers and it was first exhibited in 1879 at the from Dante’s Divine Comedy who have Grosvenor Gallery. been killed by Francesca’s husband and condemned to the circle of hell where The highly elaborate Renaissance frame, souls are blown by ‘the blast of hell that which is unlike any of the other frames in never rests from whirling.’ the Gallery, is the one in which the picture was originally shown. It was discovered But as they lie in a never-ending embrace, beneath the stairs in the Curator’s house the picture illustrates clearly the power of when the building was being cleared for love and indeed of love’s ability to triumph restoration. over death. The lovers lie at peace, loving and trusting each other in death, whilst the Walking into the newly restored and storm rages around them. refurbished Watts Gallery and seeing this

Sower of the Systems Adopted by Anthea Vernell

Systems I immediately fell in love with to keep it as my adoptee for a long time. first visited Watt's Gallery - Artists’ I it and wanted to remove it from the wall Village with a group of friends about and take it home with me. We had a very fifteen or twenty years ago, and I was pleasant morning wandering round the very struck by the artwork. Our guide collection and Chapel, and when we left, I was extremely good and was able to bought a postcard. explain the meanings behind many of the paintings. As a complete newcomer and The painting haunted my dreams for years, ignoramus to the fact that art can, and then ages later I received a letter offering does, have hidden messages, I found this various paintings for adoption, among very helpful. As we went round, I was very which was ‘my’ Sower of the Systems. taken by the colour range, subjects and Having checked and raided my building strength of the images. As with everything society account, I was able to adopt my in life, some of the artwork I preferred dream haunter. to others that I found more difficult to absorb, both in the subject matter and I come and see it as often as I can - which content. is not as often as I'd like - but it still haunts my dreams, and I hope that I will be able When we went past The Sower of the

Portrait of Dr J Joachim (also known as ‘A Lamplight Study’) Adopted by Hazel Watson

he met Mendelssohn who supervised Joachim played. Three friends of Joachim’s I feel I have a special relationship with his studies, and when Joachim was 13, – Brahms, Schumann and another, less well this picture. I have looked at it and Mendelssohn brought him to London known composer, Albert Dietrich – wrote reproductions of it long and hard, and I where Joachim played, to great acclaim, movements of a sonata called FAE after have thought about it and read about it, the Beethoven Violin Concerto which is, Joachim’s motto ‘Frei aber einsam’ (free but so that it feels very special to me. I would, for me and many others, a deeply loved lonely). He had to guess who wrote which if I could, like to have it for my own. As I work. It was written in 1806 but had been movement, which he did immediately, and cannot, I have done the next best thing: I neglected for nearly 40 years, but Joachim the scherzo by Brahms is, for me, another have adopted it. played it many times, and his name became much loved piece. closely associated with it. At the beginning, I thought less of the The more I have learned about Joachim, actual painting and more of the subject: He introduced Brahms to Robert and the more the picture has come to mean Joseph Joachim (1831-1907). For a time, I Clara Schumann, and in 1878 Brahms to me. Watts was a music lover from gave talks to small groups of local people dedicated his violin concerto to him. childhood, and he refused to sell this about musicians and their lives. Whenever When Brahms and Joachim had a rift in portrait in which he captures the intensity I came to consider Mendelssohn or their friendship over Joachim’s divorce, of concentration of a great artist that he Brahms or Schumann, I always met Brahms eventually helped to heal their admired. It became one of his most highly Joachim and realised what an important relationship by composing his fine double regarded works, sent to many exhibitions musician he was. In 1843, in Leipzig, concerto for violin and cello, which including Paris in 1878.