WA L K E R ’ S Q UA RT E R LY

HE NRY BR IGHT

B 1 8 1 0 circa Died 1 8 ( orn , 7 3)

NORWICH SCHOOL

-

Go r d o n R o e . ) Y R e A

3 7 umlm m

’ 4 01M: WAL KE R S GALL E R IES

1 1 8 , N E W BOND STREET

LONDON, W. 1

E "RIC z l NETT.

In ro u r t d c to y .

H E c ompara tive obs c urity in which the histories of so many e x celle nt artists are still shrouded has inspired

me to issue a Quarterly , which will re count the salie nt d a fe atures of their lives , an provide reli ble

u on D u n criticisms p their respective styles . ri g ’ the c ourse of a many ye ars proprie torship ’ n of Walker s G alleries , in N ew Bo d S tre et , I have be e n a stonished to find how little known

on u n oo a a are the and , c seq e tly , p rly ppreci ted m u “ L ” T works of nu ero s e sser Masters . his is due p artly to the fact that such p ainters h ave either be en overlooked or else dismissed with non - ex haustive accounts in the most

commonly handle d books of reference . Fre quenters of my g alleries will be the first to acknowledge that I have be e n ev er rea dy to

the o f n ex hibit w rks o this class , whe their

m t a an d merits s e e ed o w rr t publicity , an , although my regul ar visitors are usually n a I thoroughly conversa t with rtistic lore , ve nture to hop e that these p ages may be referred to in cases of doubt concerning the

lives of those with whom they are concerned . ’ Walker s Quarterly is not solely designed

to a a a n I de l with dece sed rtists . I the future h0 pe to call a tte ntion to unrecognised con

m o a w h a te p r ries , o only require an initi l m u to a e m in i pe t s pl c the their proper sphere .

Wa - Co ou be fa ut ter l r will voured chiefly , b engravi ngs " especially aquatints " will receiv e due a n on T fi u a tte ti . his rst iss e is confined to

a n ho ou p i ter w , th gh his de ath occurred le ss than 50 ye ars back , is o nly now assuming his m n n proper and per a e t pl ace in British A rt .

A s the fo o n a n ll wi g p ges will pro ve , H e ry

’ Bright s life w as one of honoura ble distinction in his a n H e ha R a r c lli g . d oy lty , his brothe u and if the n m n I a e br shes , , u erous cutti gs h v

an n his inspected are y criteri on, the "re ss o

H w as a fu r - ma a side . e highly success l a t ster , member of the N ew Society of "a inters in

- ou and o he Water Col rs , a familiar e x hibit r at t

R o a A a m and B n on To y l c de y ritish I stituti .

o n all he n u n cr w , e "oyed the fri endship of T r er . D all a espite these advantages , the public p ssed to om n f b a a in the e i f s ethi g re sh, ut I m h ppy b l e that my ow n efforts at restoring his l aurels are a n ffe and a H n B be a t ki g e ct , th t e ry right will . name to o n n fu - re c g ise i ture te x t bo oks . W A U GU STU S A LK E R .

z 3 " x8 int Si e 5} .

FAST CAS TL E H enry Bright O F TH E N O R WICH SC H O O L

B F on R oe y . Gord .

H E period intervening between Henry ’ Bright s death a nd the present day has been marked by scattered a ttempts to

recall his cl aims to remembrance . The 1910 Winter Exhibition at Burlington ’ u ' w as a l Ho se , to which lent the E r of Wemyss s “ ’ a be utiful St . Benet s Abbey , Norfolk , is still fresh

a al are a l a in mind , s so the import nt co lections pl ced on ’ a 19 1 and a view at Walker s G lleries in 1 the present ye r . These latter afforded practically unique Opportunities for the London public to "udge Bright , not only by his a l a a oils , but also by selected ex mp es of his p stels, w ter colours and pe ncil drawings . A few of the most i are u u strik ng items reprod ced in this broch re . ’ A discerning writer who, when penning Bright s ’ obituary in The A rt Journal, O bserved of the artist s remaining works that collectors will do well to secure ” some one , or more of these desirable examples , is now being amply "ustified in his a dvice . Although Bright

a u achieved a high popul rity d ring his life , his pictures are now commencing to be held in that more lasting

u and esteem which , based on m at red unbiassed "udg ment , must inevitably gain him an assured niche with the grea t m asters of the Norwich school . If Bright w as of Norfolk by tuition , he w as of

uff l a at S o k by birth , his first bre th being drawn a in 18 1 1 a Saxmundh m either 0 or 8 14. The baptism l registers Ofthe parish church are silent on the question ; no instan ce of the n ame occurs in them between 1805 2 an d 18 0. This is not to be wondered at, however , as l the Brights were Independents . They a ttended the O d

a at a a u am and ch pel Rendh m , three miles from S xm ndh , ’ owned a vault in its graveyard . The early registers of

he a in u a u u t ch pel , now Somerset Ho se , con t in n mero s references to the fa mily , but, unfortun ately , the most “ a u a a a import nt is nd ted , simply st ting th t Henry Bright , and ua a c t the son of Jerome S s n Bright , of the p rish ” a u a w as h a S xm ndh m , born . T is en try is s ndwiched 18 11 and 18 12 but between others of . respectively , the compilation of the register is extremely erratic , and 18 10

a a m y have been intended . Jerome Bright had sever l I children , but did not notice any younger than Henry , wherea s some were born so long previous to him as the ’ ’ 1790s . O n the other hand , Henry Bright s age at dea th

1 73 w as u e as 59 and u ( 8 ) p blish d , this is s pported by the ’ la statement of the a rtist s grandson , Mr . J . H . C . Mi l r, who has always understood that the birth took place in ’ a a a the ye r before W terloo . According to the rtist s ’ niece , now approaching her nineties , Henry Bright s “ father w as a high -cl ass J eweller and La pidary at ” a a S axmundh m . A more gener l reference to his ’ a ea M 19120 D a uff l antecedents pp rs in Add . S . ( vy s S o k

Collections , Vol . He w as , I believe , of

" The Bright vault at Rendham is so deeply embedded in ivy as to

an . The i render y inscriptions illegible Congregational M nister , the

. f J. s i Rev Al red Ba den , has very courteously prov d ed me with e x tracts from the registers recording the following burials z" Ellen f of of x 3 rd Maria , in ant daughter Denny Bright , Sa mundham , April , “ ” “ 18 3 9 J i 1846 . B 1846 . ; Miss ane Br ght , ; Mr right , ; Mrs of x 22nd J 18 47 J B Bright , Sa mundham , anuary , : erome Denny right , of x 21s t 187 1 so n of J an d n 9th Sa mundham , April , ( erome Susa , born “ r 1793 14 18 7 1 79th J B M a ch , , died th April , , in year) ; ane right was f 12th J interred in the amily vault , uly ,

6

z e 16 x I O in Si } s.

TH E WH T I E CLO UD O N THE HtLt. ax m mi S und ham formerly, where the fa ly has been 10“ ” n established as tradesme . ’ Bright s early years did not lack romance . An early inclination towa rds an artistic profession rece ived sma ll ura m fa a enco ge ent from his ther , who pprenticed him a to Woodbridge chemist . Thence the lad went to ’ o a aul u shO N rwich , where , fter entering P Sq ire s p , he became a dispenser at the Norfolk and Norwich i i o al . a al a c H spit The ch nge of loc e proved uSp ous, since it brought him in contact with the pa inters of the and w as Norwich School , it not long before his inherent a w as and t lent perceived fostered . The mentors of his “ a Y u o and noviti te were o ng Cr me John Sell Cotman , to whom " and especially to the latter " Bright owed the development Of that breadth of conception and direc t ness of trea tment which ripened into being his most a a had a prominent qulities . Th t he lw ays possessed them to a large degree can h ardly be doubted . There are in existence numbers of sketches by him hearing all f a a the impress o m gnificent draughtsm nship . Even n has a a a ffi l when o e gl nced t their d tes , it is di cut to believe that some of them were produced by a youth a a has a barely twenty years of ge. Mr. W lker more th n one such early m asterpiece in his varied collection . The country in the mids t of which Bright w as living played a part in influencing his ae sthetic appreciation of u a u . l u the picturesq e Cr mb ing bbey r ins , tottering az all as gabled houses , cr y derelict mills , served points of interest in the atmospheric landscapes he loved to s a u a s draw . A le s mbitio s spirit might h ve re ted u a but content among s ch symp thetic surroundings , ’ Bright w as made of sterner stuff. Art s luring lantern e n hovered constantly b fore him, a d , in the end , his footsteps followed it to London .

’ a 1 36 Bright s public c reer commenced in 8 , when his dé but at the British Institution laid the first founda tion w as at 12 a e ofsuccess . He then settled , Spring Terr c , Paddington Green , whence his work w as sent in for some yea rs . Having established hea dquarters in the metropo lis , he courted inspiration by tours not only in

la a and a u a h b t t e . Eng nd , Scotl nd W les , lso on continent In the course of one of these trips he struck up a

. u a friendship with J M . W. T rner . Mr . Mill r thinks ’ that Bright travelled in Turner s company on certainly and two , possibly more of these sketching excursions . He recounts a story which enables one to visualise a characteristic incident of the great a ca demician routing the Norwich man , grumbling, from a warm bed in

un a u order to see the s rise from some Swiss pe k. R skin , ’ a Turner s prophet , more th n once expressed his esteem ’ “ of Bright s work . A pencil sketch by Bright of A ’ a Cottage in Arran , in Mr . M ill r s possession , w as so “ ” much admired by the author of Modern Painters , “ a as a that it is known to the f mily The Ruskin Cott ge . ' I am tempted to dwell on Mr. Millar s reminiscences , since although but of tender yea rs when his gra ndfather

a has a u Of a passed aw y , he inherited f nd necdote from ’ his mother who , in addition to being Bright s eldes t

w as ta a . daughter , his cons nt comp nion Her mother dying when she w as about nine yea rs old , Mrs . Millar w as thrown into the closest contact with her berea ved

a a p arent . U ntil her marriage , she ccomp nied him on severa l sketchi ng excursions , meeting m any n oted ’ w a a ua a w as artists by the y. Bright s list of cq int nce u a u u a varied , incl ding S m el Pro t , D vid Cox , George l Jutsum a La nce , Col ingwood Smith , Leitch , Henry ( a ua and . . l very grea t friend) , J D H rding , who event ly handed over to him a class of pupils which Bright a ugmented until it boasted scores of members , nearly all belonging to titled houses . This section of his pro fes sion is estimated to have meant as much as ,

a per a nnum to Bright at one portion of his c reer . An offshoot Of the s ame bra nch is observable in the in ’ structional copies which he issued . Bright s advan ced

8

z n x 8 in Si e ; ; s.

THE W' INDMILL

Siz e n "x 8} ins

R UINE D CASTLE

a a l 15 x Dr wing Book , ad pted for the Penci ling Tints , “ ’ six numbers (2/ each) , and Bright s Graduated ” u 15 x 24 a l a Tint St dies , pl tes ( / e ch) , were examples published by Messrs . George Rowney Co .

1 3 w as the In 8 9 , Bright elected to New Society of Painters in Water-Colours (now the Royal Institute of

a - w as a P inters in Water Colours) . The following ” bumper year as regards exhibited works , no fewer than 15 scenes , many of them records of his continental

a a u tr vels , going to the New Society lone . The imp lse proved its own numerical exhaustion , and w as never

a repe ted on a similar scale . It is probable , however, that Bright had decided to conserve his en ergies towards

a - ue but as 1843 the m stery of oil techniq , it w not until that he ga ined the verdict of the Royal Academy au thorities . In 1843 , he w as residing at 12, Park Place

a Terr ce, Paddington , this being the year before he

a resigned his membership of the New Society. P rk

Place Terrace did not keep him long , since the 1845

a a u a a u a a c t log es loc te him t D dley Vill , P ddington

- Green . This yea r Bright received the ever sign a l

u a u compliment of being bo ght by brother br sh , his “ ” O n the River Y are being chosen by Clarkson a a St nfield , with whom he cherished friendship ever after . This w as not the first important recognition received by Bright. Queen Victoria had purchased his “ ” a an u a Entr nce to old Pr ssi n Town , in the New ’ 1844 and a a a Society s show of , is lso s id to h ve collected

a ar other ex mples of his t.

Between 1848 and 1849 , Bright removed to Grove

a a u far Cott ge , E ling . D ring the period so covered one c an picture the artist setting out on sketching tours or

a a st ying at Brodrick Castle, where he once c rried the Grand D uchess M arie of Russia on his b ack across a swollen strea m . The Grand D uchess w as one of his patrons ; she gave him severa l commi ssions , particulars of which are extant in one of his sketch books , but

9 unfortunate l y the ex ecution ofsome ofthese w as delayed b mean War y the Cri . ’ The re maining years of the artist s life present difliculties the i r er H is ac come e to b og aph . tr k be s ov r a ha f B i es a l id by t t o another H . r ght, poss sing no ne rer c a a l f conne tion th n coinciden tal simi arity o n ame . In 1875 and 1876 this se condary Bright w as to be found at ’ Long Ditton between then and the eighties the name ea a s at a r ppe r Th mes Ditton . The sub"ect of this memoir w as cert ainly living at “ a 1 l E ling in 850. Mr . Dickes (in The Norwich Sc hoo a of P inting keeps him there until 1869, when the Windham Club w as cited as the plac e to whic h enquiries

e . a u u might be dir cted In this c se , the two pict res h ng at the Society of British Artists in 1867 and 1868 may a e h ve be n by his na mesa ke . It has been asserted in the above -mentioned book tha t it w as the Norwich man

at a K n o O a who went to live Vine Cott ge, enni gt n v l ” (in 1870 The Annual Register ( 1873 ) ass ures us

a a o o a a a th t Bright retired b ut five years ag , inc p cit ted ” l r e by il ness , to Ipswich , whe e he died on Septemb r l t, 1873 . It must rema in to be noted that a Henry B arn abas

Bright , of Vine Cottage, K ennington O val , deceased three yea rs l ater. “ u a u - as a Altho gh the brilli nt geni s , Bright M "or Halda ne Macfallunhesitatingly styles him in the eighth volume of his History of Painting " has been dubbed “ a and e a a the l st of the Norwich School , c rt inly r nks with the last gre at artists produced in that brilli ant

w as u a ua a procession , he s rvived ct lly by sever l members of the body. His capabilities brought him into colla. hora tion with m any contemporaries . Amongst these must be included his compan ion , Thomas Lound , in an “ a ll a Ely C thedra l , Sunset J . J . Hi in The C bin “ ” D Armfie l T e a oor d in h Dying St g , G lencoe ;

” The o of" i b . F. DiOk fl Norwich Scho l aint ng, y W

1 0

F and a J . . Herring in Cattle Drovers Deer St lkers ” Meeting T. Faed in a View in the Tyrol ; H . B . ” Willis in a Landscape with Ca ttle ; a nd Herring ” and B axter in Cava liers with Horse and Ladies . ’ It will be conceded that Bright s cla im to recognition is based , not on these , but on his more person a l work .

An adept w ith the brush , he produced some superb

a la ndscapes in oils , dignified by sympathetic observ tion ,

a by direct handling and by sweet coloration . His p stels

- and water colours , by which he is best known at ’ a a a le e W lker s G lleries , seldom f i d ither in tenderness or harmony . Their constituents were peculiarly adapted to the technical capabilities of a man with a swift perception of changing chords in the chrom a tic

a a u an a u sc le of n t re , which he noted down with ss red

a l u a as a a a f ci ity s rp ssing comment . He w emph tic lly stupendous draughtsman , and it is amaz ing to note how level w as the balance of his mind between drawing and

r colour. In conside ing his drawings , count must be taken of the sketches in p e ncil and charcoal which he turned out so lavishly . Bright roamed the e arth with

ua a an a vid eye for q int cott ge corners , picturesque tree forms or glimpses of wild moorland scenery . These random "ottings form important w itnesses to his dexterity they contain no line without its meaning , no tentative fumblings after effects . There were few men b e tter qualified than he to belong to a body with a title

a w as a t a like the Gr phic Society , of which he one time member . It is not withi n the province of this “ ” Quarterly to act as a Cata logue R aisonée , else I should h ave dwelt upon such m asterpieces as the

au u a be tif l Shrimper p stel in the British Museum , or ff a a at u the E ect fter R in oil Norwich . In lie , I give a list of the works which be exhibited at London ga lleries , supplemented by some references to those which are doubtful or which seem likely to have emanated from another hand .

1 1 The compilation of even so short a memoir has been a ttended by considerable l abour, lightened by the kindnesses of m any art lovers. I must acknowledge

a u u a unre speci l gratitude to Mr. Aug st s W lker for his mitting a id and the opportunities he has provided for me “ ” to m ake close exa min a tions of the Brights in his

a g lleries . Mr . J . H . C . Millar, in addition to va luable

a a inform tion , provided the photogr ph of Bright repro d uced in this brochure . O ther rela tives of the artist who have come forward with assistance are Mr.

a f Alex nder Denny (nephew) , Mr. George Bright Ash ord

a a and . ( gre t nephew) , Mr . Denny Bright The Rev .

F a a u a has rederick Conw y , Rector of S xm ndh m , been mos t courteous in the m atter of registers , whilst Mr .

m D a S a a a . u a le , of the s me pl ce, the Rev Arth r Pl tts ,

a a al the Rev . A . J . B sden , Mr . Leon rd C vert , Mr.

Fra nk Leney (Curator of the Norwich Castle Museum) ,

. e Co . . O F . L . A . Messrs Geo . Rown y , Mr Henry gle ,

a a a a (Libr ri n of the Ipswich Centr l Libr ry) , Mr. R . A . “ a a a a Co tes , Mr . John Booth , l te of the E st Angli n ” a and a a l a u D ily Times , m ny more h ve given he p in v rio s m atters . The printed works which h a ve been consulted are too numerous to specify in extenso , but The

F arr l Norwich School of Pa inting by W . . Dickes (J o d ’ and l Graves s u a Sons) , Mr. A gernon mon ment l series of reference books have my homage .

1 2 e 1 2 x ins Siz } 9} .

A R U INE D CASTL E

o E L o n H B W rks x hibited in ndo by e nry right ,

f h N oo o t e orwich Sch l .

"The arrangement of works in each year is dictated solely by con venience s , and bears no nece sary relation to their comparative import ance . Certain seeming discrepancies may be traced back to the original catalogues . "

1 " 836 Heath Scene Stormy Weather . (British Institution) 183 8 f Water all near Dolgelly , called the Black Cataract , ' ” ' 2 1 x 1 Do . ' " ’ 1 8 x 2 . Old Cottages near Petworth , Do ' ” ' 1 6 x 1 Winter, Do . ’ ” 183 9 a 1 4 x Co st Scene , Evening (Drawing) (New Society of Painters In Water- Colours) ’ Scene near St . Donat s Castle , South Wales . (Drawing) Do .

Winter . Do . Do .

Coast Scene . Do . Do .

Coast Scene . Do . Do . 1840 Scene on the Banks of the Rhine near Nieder

Wesel . Do .

Lake Scene , Trowse , near Norwich . Do .

" Scene on the Rhine Evening . Do .

" On the River near Leyden , Holland Moonrise . Do . ff On the River Ore , Su olk . Do .

Conway Castle . Do .

" Winter Scene near Leyden , Holland Dutch f People returning rom Market in a Sledge . Do .

F " z Scene on the rench Coast Ha y Morning . Do .

" Landscape , Holland Early Morning . Do . U nloading a Wreck on the Sands near Orford '

of Suflolk . . . Lights , coast Do Do

a . . . Dutch Boats, on the River ne r Rotterdam Do Do ' lk Suflo . . In Shrubland Park , Do Do.

" of F . . On the Coast rance Sunrise Do Do .

" . . . . Rocky Shore , embrokeshire , S Wales Do Do

ff " On the Su olk Coast Sunset . Do . Do . ' " ’ of ff 1 7 x 2 Scene in the Woodlands Su olk , (British Institution) i of z - b - Ru ns a Mill on the Heath , Si ewell y the ff x Sea , Su olk , " ' 1841 11 x 1 Evening , of O ld Ruin an Mill , on the Marshes near

" - f . C. Loddon, Nor olk Early Morning (Drawing) )

Old Mill , Clovelly , North Devon . Do . Do .

of . . Sketch a Devonshire Cottage . Do Do f Water all , Devonshire . Do . Do .

842 f . . 1 On Holt Heath , Nor olk . Do Do ' ” ’ a 1 1 x 1 Co st Scene , (British Institution) ' " ' 1 1 x 1 . Landscape and Cattle , Do

I 3 " Sketch on the Rhine Moonlight . ( Royal Academy)

- . C . River Lynn , Devon (Drawing) )

in . . Scene North Devon Do Do .

River Lynn , Devon . Do . Do .

On the Thames . Do . Do .

Moonrise . Do . Do .

" c . . River S ene Sunrise Do Do . Entrance to an Old Prussian Town " Winter ' n E fl ec t urchas ed b ELM ueen Eveni g (P y . Q

"ictoria) . o of Scene on the B rders Dartmoor , Devon

" " T o A Dutch illage wilight , M onrise , ' " ' 2 2 x 2 ( British Institution)

a " A Landscape , Cornw ll Autumnal Morning , ’ " ’ 2 2 x 2 ' ” ' 1 3 x 1 On the River Lydd , ' ” ' l 5 x 1 Rocky Coast , Polperro , ' ” ' 1 5 x 1 Bilston Tor , Dartmouth , ' ” ' Bun " l 4 x 1 On the River Moonlight , ' ” ' of 1 7 x 2 Near Newport , Isle Wight ,

' " ' i 3 8 x 5 A Corn sh Mountain Scene , the Y f urchased b On River are , Nor olk (P y k m Clar son anfie d A . St l . E L ) (Royal Acade y)

" l f ff . Scene in Hol and A ternoon E ect Do . Scene on the Y orkshire Moors " Early ' ” ' 3 2 x 4 i Morning, (Brit sh Institution) ’ ” ' The " of f 2 4 x 3 ale the Whar e , Bolton , Do .

e l . " f k N ar Pu ham St Mary the irgin , Nor ol , ' " ' ” 1 10 x 2 S ' ” ’ Mounta m m 1 10 x 2 A Welsh Strea ,

' " ’ 1 7 x 2 Evening , Welsh Mountain Scene " Autumnal Cloudy ' " ' 4 6 x 6 Weather , ’ ” Ifile x 3 1 x An Old Water Mill at y, O on , Ruined Castle on the Banks of the Rhine E fl' Sunset ect. (Royal Academy) ’ Remains of St . Benedict s Abbey on the Norfolk Marshes " Thunderstorm clearing

off.

a f An Overlook , ne r the Southern Coast o

England. " ' ” f 1 7 x A Bit rom a sketch near Bolton , 2’ (British Institution)

' The S tifl ke f l Old Hall at y, near Wells , Nor o k . c a of c m On e the se t Sir Nicholas Bacon . (Royal A ade y) i m be . A Mounta n Strea , Borrowdale , Cum rland Do .

On the Y f . . River are , Nor olk Do

f m. The Ray a ter the Stor Do .

1 4

26 a a Fu a By H . Bright , , Moore P rk Ro d , lh m .

o f 1867 Sunset on the Thames . (Society British Artists)

’ 22 a By H . Bright , , Victori Grove , Queen s Gate ,

South K ensington .

1868 An Eve ning Flight . (Society of British Art ists)

By H . Bright (no address given) .

of 18 70 (Winter) A Pipe and a Chat . (Society British Artists)

16 a ua By H . Bright , , Be r Street , Leicester Sq re .

’ 8 70 " of 1 Won t you tell me why, Robin (Society British Artists)

18 71 Cochin China . Do .

K By H . Bright , Vine Cottage , ennington O val .

” 7 T the a . 18 1 here by b nks and in armour bright , etc (Royal Academy) f fi offi 1873 Returning victors rom the eld ght , ” Our gallant frogs present a gala sight . (Society of British Artists) ’ Maggie s Secret . Do . 1 74 m be " 8 Where can y little brother Do .

By H . Bright , of Rodrick Lodge , Long Ditton .

Th f of 18 7516 e Favourite o the Season . (Society British Artists) F 1876 riends in Adversity. (Royal Academ y)

Nola " One of the most important Chromolithographs issued after ’ Henry Bright s work was that entitled A "iew in North Wales ,

b G . 1858 . announced y Messrs . eorge Rowney Co in " A woodcut portrait of the artist will be found in the Print Room of the British Museum .