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Expert Adviser's Statement Cotman

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Expert Adviser's Statement Cotman EXECUTIVE SUMMARY 1. Brief Description of item(s) John Sell Cotman (Norwich 1782-1842 London) Part of the Refectory of Walsingham Abbey, Norfolk Watercolour over graphite sketch, on paper, 29.4 x 45.2 cm Condition: excellent, as far as can see in frame 2. Context Provenance: Francis Gibson of Saffron Walden (d.1860); his son-in-law, Rt Hon Lewis Fry MP (d.1921); Lewis G. Fry (1860-1933); Dr L.S. Fry, and thence by descent through the family Exhibited: Norwich, Norwich Society of Artists, 1811, no. 133 (Part of Walsingham Abbey, Norfolk – sketch for Cotman’s Antiquities of Norfolk) London, Burlington Fine Arts Club, Exhibition of drawings in watercolour and in black and white by John Sell Cotman, 1888, no. 32 (Interior of Walsingham Abbey) London, Tate Gallery, Exhibition of works by John Sell Cotman and some related painters of the Norwich School, 1922, no. 178 (Walsingham Abbey) Amsterdam, Stedelijk Museum, Twee eeuwen Engelse Kunst, 1936, no. 238 Literature: A.P. Oppé, The Water-Colour Drawings of John Sell Cotman, 1923 S.D. Kitson, The Life of John Sell Cotman, London, 1937, pp. 108-9, no. 297 M. Hardie, Water-colour painting in Britain, vol. II: The Romantic period, London, 1967, p. 83 M. Rajnai and M. Allthorpe-Guyton, John Sell Cotman 1782-1842. Early drawings (1798-1812) in Norwich Castle Museum, London, 1979, p. 90 3. Waverley criteria Cotman’s Walsingham Abbey fulfils the 3rd of the Waverley Criteria as being ‘of outstanding significance for the study of some particular branch of art, learning or history’, in this instance art and history. The argument of ‘outstanding significance’ rests on 1: its scale, betraying the highest level of ambition in Cotman’s own work; 2: its inclusion in the 1811 Norwich Society exhibition, when Cotman was President and used it to announce his Antiquities of Norfolk; 3: its bold early romantic combination of antiquity and modernity and status as a ‘sketch’; 4: its ownership by an important patron of his work; 5: its unfaded condition. DETAILED CASE In the catalogue of the 1982 V&A Cotman exhibition, David Thompson noted ‘A great Cotman always jolts one with a kind of delighted surprise – indefinable, unexpected, dramatic, graceful, unfussed, unfailingly right… architecture alerts and reinforces his innate sensibility to shape, spacing and interval ’. Walsingham Abbey is one of these works - without question one of Cotman’s most ambitious, striking and unusual watercolours of mediaeval architecture. This was a field in which he specialised, especially in his early career to 1811, the period considered to be his most successful. In this respect, it can be compared only to three other watercolours on a similar scale: St Botolph’s Priory, Colchester, c. 1804-05 (35.7 x 52.1 cm), St Luke’s Chapel, Norwich Cathedral of c. 1807-8 (35.2 x 46.1 cm, painted on the same lightly speckled paper as Walsingham Abbey) and Byland Abbey, Yorkshire of c. 1809 (52.1 x 43.5 cm). All three are in the collection of Norwich Castle Museum but two are badly faded and the other is a much more staged and theatrical composition. St Botolph’s Priory and Byland Abbey share a further distinction with Walsingham Abbey in that all three were included in the 1811 exhibition of the Norwich Society of Artists. 1811 was without doubt the climax of Cotman’s early career; he was President of the Norwich Society of Artists for the first time; he was publishing his first set of etchings (the 26 ‘Miscellaneous Etchings’), and embarking on his mammoth project to seal his reputation by creating a large set of 60 etchings of all the significant ancient buildings in his home county of Norfolk. Walsingham Abbey, though painted three or four years previously, is the only one of the large subjects in the exhibition which look forward to the Norfolk etchings (its title in the catalogue describes it as a ‘sketch’ for Antiquities of Norfolk), and was thus chosen by Cotman as a demonstration of the full extent of his current powers and a sign of what was to come. Walsingham Abbey is unusual in his watercolours of this size because it does not contain figures and the view is as he found it; the men working on the building gone, their tools and building materials left behind, planks of wood stacked against the windows on the left and in the ruined arches, the rickety wooden stair forming a strong picturesque diagonal in the centre. The falling light highlights the contrast between the white stone tracery of the windows and the large plain cubic block on the left. The Bonham’s sale catalogue entry described this as lime mortar for the building of the new house in 1806 but the block still remains on this site; it may have been faced with mortar at the time but it is now faced with brick, with a decorative crenelation added to the top (see attached image). The façade of the house to the left was also altered considerably. This watercolour thus also provides an important historical record of the building on this internationally significant site of pilgrimage. He made two other watercolour records of the other ruins of the abbey remaining on the site: of the ancient refectory’s west window with its original tracery (Leeds City Art Gallery; also includes building materials but is not connected to the house) and the tall arched ruins of the east end (Victoria Art Gallery, Melbourne; faded and badly foxed). Cotman’s treatment of the subject of Walsingham Abbey in the present work is astonishingly original in the way he combined the depiction of the mediaeval ruin with the evidence of current construction work. Such awareness of the processes of historical change applied to the topographical and picturesque tradition is normally identified as belonging to J.M.W. Turner’s Picturesque Views of England and Wales, executed around 20 years later. Cotman’s coup of exploiting the visual interest of the mortared block can perhaps be compared to the striking freshness and directness of John Linnell’s oil painting Kensington Gravel Pits of 1811-12 (Tate; Linnell had been a pupil of Cotman’s friend, John Varley), but Cotman is more adventurous in the close proximity of the old and the new. Such a radical gesture was never repeated in Cotman’s own work – there is almost an admission that he may have overstepped the bounds of propriety in the fact that the etching of the subject omits evidence of the building site, but leaves the large block as a mysterious, unexplained intrusion. In the etching he also adds picturesque foliage and a gardener. Walsingham Abbey has one final claim to ‘outstanding significance’, and that is in its condition. Of all these large watercolours already mentioned, none can match the bright, pristine state of Walsingham Abbey. The importance of the original owner, the banker Francis Gibson of Saffron Walden, as a patron of Cotman’s work is outlined in the sale catalogue. What is not discussed there is the esteem in which this work was held during the ‘rediscovery’ of Cotman in the late 19th and early 20th centuries. It was shown in the Burlington Fine Art Club 1888 exhibition that re-introduced his work to a London audience and collectors, where, titled ‘Interior of Walsingham Abbey’ it appeared in reviews in the same sentence as the iconic Greta Bridge, lauded as an example of his skill as an architectural draughtsman and colourist, preserving breadth and distinction of mass of form through light, shade and colour. The Saturday Review noted ‘To select and simplify without exaggeration or addition was Cotman’s method of ennobling his subject, and of his skill in this respect there are few finer examples than Mr Colman’s St Luke’s Chapel, Norwich Cathedral and Mr Lewis Fry’s Interior of Walsingham Abbey. In later watercolours he allowed his desire for warmth of colour to interfere with veracity’. In his history of British watercolour, Martin Hardie singled it out as ‘one of the most lovely of a series of drawings, made among the priory ruins about 1807. The building itself is set among trees, with dominant notes of grey–green and umber as an echo of the Greta drawings and with Cotman’s favourite device of a brilliant blue sky, flecked with white summer clouds.’ Apart from its reproduction by Oppé in his 1923 volume, The water-colour drawings of John Sell Cotman (a reference overlooked in the sale catalogue) Walsingham Abbey had not been published, or seen in public for nearly a century before its sale this year. Its significance had therefore not been fully appreciated by scholars, let alone the wider public. Despite this, should the work now find a home in a public collection in Britain, there is no doubt it will be finally recognised as one of the greatest productions of Cotman himself, and of the entire British watercolour tradition. .
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