On the Greta above Devil's Elbow, near Rokeby. Called 'Brignall Banks on the Greta'.
c 1805
Artist: | John Sell Cotman, British, 1782 - 1842 |
Title: | On the Greta above Devil's Elbow, near Rokeby. Called 'Brignall Banks on the Greta'. |
Date: | c 1805 |
Object name: | Watercolour |
Medium: | Graphite and watercolour on wove paper |
Support: | White, wove paper |
Dimensions: |
Support: 188 mm x 283 mm |
Reference: | LEEAG.1952.0005.0047 |
Credit Line: | Bequeathed by Agnes and Norman Lupton, 1952 |
This is a studio watercolour of a landscape scene, looking over a wooded ravine from an elevated scarp, with three white birds wheeling against dark trees in the lower centre. Beyond the ravine is a view across open fields, yellow with corn, to a clump of dark trees on the horizon right, and blue moorland in the distance left. There is blue sky to the left and a diagonal bank of cloud descending to a grey shower in the distance right.
The composition is derived from an on-the-spot graphite sketch also at Leeds (LEEAG.1952.0005.0048). Sydney Kitson bought the sketch in June 1928, one of several hundred mounted on sheets, and recognising the connection with this watercolour, gave it to Norman Darnton Lupton on 1 August 1928, having first had it photographed for his 'Cotmania' notebook Volume 3 (1927-8) 11 Sept and 22 Sept, 1928.
Kitson knew the watercolour already. His 'Cotmania' notebooks preserved in the Kitson archive at Leeds Art Gallery (Volume 2 for 1927-8, pp.16 ff) record that on 16-19 November 1927 he 'Stayed at Chalmington [the Luptons' Dorset residence at the time] Saw N.D. & Agnes Lupton's Cotmans'. The notebook itemises each example with a sketch drawing and the present watercolour is no.2 in his list, 'On the Greta - Yorkshire. Watercolours c.1807 (or '05)'.
The gift prompted Kitson to refresh his acquaintance with the Lupton collection and the following spring his 'Cotmania' notebook Volume 4 (1929-30) records that on March 29-31 1930: he 'Motored over to Chalmington' to inspect the collection, and concluded 'I thought his 'St Botolph's Abbey' [LEEAG.1952.0005.0051] most attractive: 'The Cows in Water' [LEEAG.1952.0005.0048] delicious and the 'Brignall Banks' one of the great Cotmans'. The Lupton collection was one of the finest private collections of English Watercolours and Drawings of this period, and its bequest to Leeds consolidated Leeds's reputation as one of the leading centres for the study of this kind of material in Britain.
Rudd 1996 identified the viewpoint of the watercolour as above the Devil's Elbow near Eastwood Hall. This is some way downstream of Brignall Banks, the site of its traditional identification. The foreground of the sketch was described by Kitson (Life 1937, pp.83-4) as 'a tangle of unmeaning foliage', but this is perhaps unfair. The indications of foreground situate us on the edge of the scarp, and give a sense of real scale and presence in the place. It conveys a sense of Cotman walking to and standing on this ground. The finished watercolour removes this to give unprotected exposure to the depths, and although there is a vestigial foreground to either side, we are put into much more immediate contact with a sense of falling or flight. It is a powerfully poetic device.
From this angle we might see the composition as a meditation upon escaping our earthbound condition. Certainly dramatic contact with space is indeed a feature of being at the site. When one breasts the scarp going up to Eastwood Hall there are places where the river is as much as one hundred feet vertically below.
It is extraordinary, however, that the composition has no conventional centre of focus. Even in the finished watercolour many viewers will think the middle distance to be 'a tangle of unmeaning foliage', and that the picture offers practically nothing else. There is only a glimpse of fields beyond, a formless silhouette in the distance right and a sky with a few abstract bands of blue and grey. It would come as absolutely no surprise to such a viewer that Cotman achieved little but mystification and bemusement in his audience. Only a few of these subjects appear ever to have found buyers.
The radicalism of Cotman's approach gradually, but inexorably found an audience. Kitson seems to have almost surprised himself by coming to the conclusion in 1929 that this was one of the great Cotmans. Since realisation dawned, Brignall Banks has been one of the most frequently exhibited of all Cotman's watercolours.
The survival of both on-the-spot sketch and finished watercolour is a relatively rare event in Cotman's oeuvre. Brignall Banks can be taken as completely diagnostic of Cotman's studio style in the period immediately after 1805.
Cotman exhibited an 'On the River Greta, Yorkshire' at the Royal Academy in 1806, no.524, but the present watercolour seems too small to have been an Academy exhibit, and also an 'On the Greta River, Yorkshire; Sketch from Nature' at the 1808 Norwich Society of Artists, no.143, but the present watercolour is certainly not a study from nature.
It may be noted here that the sky in a watercolour of Heath Hall (private collection) is very close to that here, This watercolour was brought into Leeds Art Gallery for inspection in 2004 and appeared to Corinne Miller and myself more likely to be by John Varley than by Cotman. If it is not by Cotman, however, the similarity of the skies wants some explanation.
David Hill, November 2017
Provenance
Agnes Lupton (1874-1950) and her brother, Norman Darnton Lupton (1875-1953) by whom given to Leeds City Art Gallery and accessioned 1952;
Published References
Sydney Decimus Kitson, 'Cotmania', 12 volumes of unpublished manuscript notebooks, 1926-1937, in the Kitson archive at Leeds Art Gallery, Vol.2 (1927-8), 16-19 November 1927, Vol. 3 (1928-9), between 11 and 22 September 1928, Vol.4 1929-30: March 29-31 1930;
Sydney Decimus Kitson, 'John Sell Cotman', in The Old Water Colour Society's Club, Seventh Annual Volume, ed Randall Davies,1930 pl.vi fig b;
Sydney Decimus Kitson, 'The Catalogue of the Collection of Drawings by J.S.Cotman', 1924-1937, unpublished typescript (Leeds Art Gallery, The Kitson Archive, 1924 - 1937) under cat.278;
Sydney Decimus Kitson, 'The Life of John Sell Cotman' (London: Faber & Faber, 1937) pp.83-4;
'Leeds City Art Galleries: Concise Catalogue', (Leeds, Leeds City Council, 1976) cat. 5.47/52;
Martin Hardie, Watercolour Painting in Britain: II The Romantic Period (London: Batsford, 1967) Miklos Rajnai and Marjorie Allthorpe-Guyton, 'John Sell Cotman 1782-1842: Early Drawings (1798-1812) in Norwich Castle Museum' (Norwich: Norfolk Museums Service, 1979) p.61;
Miklos Rajnai (and others), 'John Sell Cotman 1782-1842', (London: Arts Council of Great Britain, 1982), no.54;
David Boswell and Corinne Miller, 'Cotmania and Mr Kitson' (Leeds: Leeds City Art Galleries, 1992), no 17b;
M C Rudd, 'Artists in Teesdale: Walking the Landscape: Artists' Trails, 1: The romantic glen of the River Greta', pamphlet (1 of 3) published to accompany the exhibition 'Walking the Landscape with Cotman and Turner in Teesdale' at the Bowes Museum, Barnard Castle, 1996;
David Hill, 'Cotman in the North: Watercolours of Durham and Yorkshire' (New Haven and London: Yale University Press, 2005) p115, pl.117;
Exhibition History
Amsterdam, Stedlijk Museum, 1936, 'Twee Euwen Engelse Kunst', no.201;
Leeds, Leeds City Art Gallery, 1937, 'Sixty Pictures of Yorkshire Scenery', no.8;
Paris, Louvre, 1938, 'La Peinture Anglaise XVIIIe et XIXe Siecles', no.178;
Arts Council 1951 'Three Centuries of British Watercolours and Drawings', no.34;
Hampstead Artists' Council 1953, London, Studio House, Rosslyn Hill, Artists at Work from Sketch to Finish', no.19;
Geneva, Le Musee Rath and Zurich, Le Cabinet des Estampes, 1955-6, 'L'Aquarelle Anglaise 1750-1850', no.20;
Leeds, Leeds City Art Gallery, 1958, 'Early English Watercolours', no.16;
London, Agnew's, 1960, 'Watercolours and Drawings from the City Art Gallery, Leeds', no.82;
Detroit and Philadelphia 1968, Detroit Institute of Arts, and Philadelphia, Museum of Arr, 'Romantic Art in Britain, Paintings and Drawings 1760-1860', no.131 repr;
London, Colnaghi Ltd, 1970, 'Loan Exhibition of Drawings and Watercolours by East Anglian Artists of the 18th and 19th Centuries', no.33;
Leeds, Leeds City Art Gallery, 1972, 'The Lupton Collection', no.9 repr;
Kendal 1973, Kendal, Abbot Hall Art Gallery, John Sell Cotman 1782-1842. Watercolours and Sketches'. No.25;
Tate 1973, London, Tate Gallery, 'Landscape in Britain, c.1750-1850', no.264;
1980 - 1981 - Arts Council exhibition, 'More Than a Glance' (16)
London, Victoria and Albert Museum 1982, 11 August-24 October (afterwards touring to the Whitworth Art Gallery, Manchester and Bristol Museum and Art Gallery) 'J.S.Cotman, 1782-1842', no. 54 repr b/w;
19/01/1991 - 21/07/1991 - South Bank Centre UK Tour; Bolton; Stoke; Mead Gallery, University of Warwick, Coventry; Swansea; 'Like the Face of the Moon' (33)
Leeds, Leeds City Art Galleries, 1992, 25 November 1992-24 February 1993, 'Cotmania and Mr Kitson', no.17b as 'Brignall Banks on the Greta, Yorkshire', repr colour;
Barnard Castle, Bowes Museum and Leeds, Harewood House, 2005, May-July and August-October 2005, 'Sense and Sensibility: Cotman Watercolours of Durham and Yorkshire', repr. Hill 2005, pl.117;
09/2010 - 02/2011 - Leeds Art Gallery, Leeds, 'John Sell Cotman's Northern Tours'
Related Objects
St Botolph's Abbey', Leeds Art Gallery, LEEAG.1952.0005.0051;
'The Cows in Water', Leeds Art Gallery, LEEAG.1952.0005.0048;
Inscriptions
"On the Greta / Yorkshire" verso
Collector's Notes
Sydney Decimus Kitson, 'The Catalogue of the Collection of Drawings by J.S.Cotman', 1924-1937, unpublished typescript (Leeds Art Gallery, The Kitson Archive, 1924 - 1937) under cat.278;
ON THE GRETA: YORKSHIRE.
5 1/8" x 8"
Pencil: on thick paper.
cf: the watercolour (7 3/4 x 11) in the possession
of N.D.Lupton.
Photograph by Flemin, July 1928.
given to N.D.Lupton, Aug.1. 1928.
Ex. Muskett-Orpen Coll: (III. 3).
June 1928.
Alternate Numbers
Other number: 5.47/52
Previous Number: LEEAG.PA.1952.0005.0047
Negative Number: 801/66 (B) & 735/65 (2a)
Kitson Number: KITSON.278