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Alfred Williams of Salisbury A LFRED W ILLI A MS 235 often referred to as Alfred Williams of Salisbury, an epithet he himself used SIMON PIERSE on occasion, as when, for example, he signed his name in the visitors’ book at Sligachan Hotel in Skye.2 When Williams was elected a member of the Alpine Club it was for his climbing achievements, and a year or two later Alfred Williams of Salisbury he became a founding member of the Swiss Alpine Club and a member of the Scottish Mountaineering Club. But Williams was also a watercolourist of great skill who showed his work alongside Royal Academicians and members of the Royal Watercolour Society at the Alpine Club3 and was honoured with a memorial exhibition there in 1905.4 For most of his life Alfred Williams was not a painter by profession but neither was he an amateur in the way we would use this term today. He had the distinction of showing four paintings at the Royal Academy between 1880 and 18955 as well as exhibiting with the Society of British Artists. He included professional artists among his friends, notably Colin Bent Phillip, a member of the Royal Watercolour Society who wrote Williams’ obituary, published in the Alpine Journal, in which he praised Alfred’s artistic ability.6 Alfred Williams was born in Newark-on-Trent on 4 May 1832. He was the youngest of three sons born to Congregational minister Reverend Charles Williams (1796-1866) and his wife Mary Smeeton (1791-1871). Alfred grew up in a respectable, scholarly household and was educated first privately and later at University College School in Gower Street, London. We do not know the name of the private academy where he learnt the rudi- ments of drawing, but he subsequently studied landscape painting under the watercolour artist William Bennett (1811-1871) who lived in Clapham Park, London. In 1849, as a young man of seventeen, Williams’s artistic talent was unde- veloped and he honed his skills making drawings of agricultural machinery and livestock, watercolour studies of trees and hedgerow plants. It may have been Bennett who steered the young Williams along the path towards illustration, a career that he pursued until 1856 with commissions from his own family. He illustrated publications of the Religious Tract Society (his father was editor of this journal) and provided some of the illustrations to his elder brother Frederick’s Our Iron Roads (1852).7 At the same time he continued to develop his skills in watercolour with extended excursions Alfred Williams (right) outside his painting hut. Possibly Skye or the Lake into the countryside lasting several weeks. District. Sepia toned silver gelatin print mounted on card with photographer’s In June and July 1852 he went to the Lake District and painted Winder- details: ‘G P Abraham FRPS, Photo. Keswick.’ mere, Keswick, Bassenthwaite and Derwentwater. In June to August the following year he embarked on a sketching tour of North Wales, visiting ne of the main problems in researching the work of Alfred J Williams Bala, Dolgellau, Beddgelert and Conwy. He worked diligently, dating O(1832-1905) is the confusion with another artist of the same name, each sketch and adding notes of his impressions of each scene and how who died in the same year. Indeed, the ‘other’ Williams, Alfred Walter it might be recorded for future reference. Sketching figures on market day Williams (1824-1905) is, arguably, the better known of the two artists and at Dolgellau on June 25 1853, Williams noted the type of hats and colour it is his work that more commonly appears on the art market.1 This has led of scarves worn by the local women, and later the same day he stopped to to a number of instances of miscataloguing at auction, which adds to the paint a sketch near Llanelltyd: ‘an evening effect on a dark cloudy evening confusion. For this reason, the Alpine watercolourist Alfred Williams is after a very wet day.’ 234 The Matterhorn from Zermatt, pencil and watercolour. Inscribed 24 June 1865 Study of Loch Coruisk from the Shoulder, pencil and watercolour, 1888. on reverse – just three weeks before Edward Whymper’s first ascent. Signed on reverse in ink with date and title, 638mm x 958mm. A characteristically rigorous and analytical approach to art was already In 1886, a member of the Alpine Club since 1878, he was able to retire beginning to develop, even though this ran counter to popular taste. from the malting business and devote his time to climbing and painting. Williams once remarked how different the mountains of the Lake District That same year he made what was probably the first of four visits to Skye, looked in real life to their portrayal in the fashionable watercolour of the staying at the Sligachan Hotel and painting in the landscape on extended period, suggesting that he would never be a slave to artistic fashion. fieldtrips. Williams would set up camp to work en plein air in relative In 1854 Williams made an extended walking tour to central and comfort for periods of a week or more. Visitors relate how even in these northern Italy and Switzerland. In 1861 he settled in Salisbury where he remote locations he was able to entertain in some style. The unframed went into partnership with his brother Charles in a malting business that Study of Loch Coruisk from the Shoulder (1888) bears all the signs of having became known as Williams Brothers Maltings.8 In the summer months he been completed entirely on the spot; indeed the location on the north-east continued to climb and sketch in the Alps. The earliest dated sketches of side, looking towards the head of the loch, is still identifiable to this day. Alpine subjects that have so far come to light are 1862 and show a style still Other paintings, such as In Harta Corrie (perhaps exhibited RA 1888), were as yet unformed where colour is subordinate to strong underlying drawing. most likely studio works intended for exhibition.11 In 1889 he held an exhi- In 1863 Williams married Sarah Gregory, but there were no children. bition of his paintings at the Alpine Club. It is probably Sarah who is pictured in a series of photographs taken on Williams was unusual in painting on a large scale and, in his later work, holiday with Alfred in Switzerland.9 The same year Williams became a there is often the suppression of foreground detail or even of the foreground member of the Swiss Alpine Club, newly founded by its first president itself, an element in his style that makes the paintings appear strikingly Melchior Ulrich (1802-1893), Gottlieb Samuel Studer (1804-1890) and modern to the contemporary viewer. Whether this was due to Williams’ Rudolf Theodor Simler (1833-1873) at an inaugural meeting held in the inability to compose to conventional picturesque effect, or whether painting railway restaurant at Olten.10 Williams married again in 1866 and with mountains from an advantageous vantage point necessitated climbing up Eliza (née Walker, known as Lillie) he had a daughter and son. from the valley floor to observe them across a gulf of intervening empty Alfred Williams was one of the pioneers in opening up Zermatt as a space, is a moot point. In two mid-career paintings of Mont Blanc (both holiday resort for the British, staying at the Grand Hotel Gornergrat, Riffel- unsigned and undated), it appears that Williams experimented for a time haus or Monte Rosa Hotel. He climbed with local Swiss mountain guides in adding picturesque invented foregrounds to a backdrop of mountain and became friendly with their families. His favourite guide was Anton landscape. The shapes of the mountains themselves are near identical in Ritz, known as ‘Riffelhaus Toni’. In 1865 he was at the Monte Rosa Hotel both paintings and might have been traced from a single drawing or even to paint the Matterhorn and was able to witness the first ascent on 14 July. perhaps from a photograph or projected lanternslide. Close inspection of 236 237 Monte Rosa from the Monte Moro, pencil and watercolour heightened with white bodycolour or gouache, with touches of blue and white pastel. No visible date or signature, 717mm x 1054mm. Mont Blanc de Courmayeur, pencil and watercolour. Perhaps c1879, at the same time a half imperial drawing, rested in the middle of the day, and 690mm x 998mm. repeated the performance in the evening; and this day after day.14 the under-drawing reveals a faint but confidently delineated pencil line that was used as a guide in building up layers of watercolour. The valley floor, Undoubtedly, some of Williams’s finest watercolours were made in the by contrast, with its Alpine huts, bridge and stream, are painted in a style at Alps, painting on the spot and sheltering overnight in the wooden huts he once heavier and sketchier, as if from a sketchbook study or from memory. erected on remote and exposed mountainsides in Monte Moro, Pierre à Moreover, the view of Mont Blanc does not correspond with what is visible Béranger and south-east of the Italian Val Ferret. This practice aligns Alfred from the valley floor near Courmayeur but indicates a much higher vantage Williams with some of the younger pre-Raphaelite artists working under point from somewhere on the south-east side of the valley.12 the influence of John Ruskin such as John William Inchbold (1830-1888) The use of photography as an artistic tool was already prevalent in the and John Brett (1831-1902). Indeed John Brett was a near contemporary mid-Victorian period and had been pioneered by John Ruskin (1819-1900) of Alfred Williams and, in his pursuit of ‘truth to nature’ Brett had gone in his own studies of mountain geology.
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