Plate

Details

Date: c. 1890
Object Type: drawing
Material: chalk on paper
Catalogue number: BrD29
Artist: Leighton, Frederick, Lord, 1830, 1896
Credit notes: Brangwyn gift, 1936

Chalk study for Leighton’s oil painting ‘Solitude’, now in Maryhill Museum of Fine Arts collection, Washington. See also BrD29a for another study of the same subject. Solitude was inspired by studies the artist made of the Lynn of Dee near Braemar, Scotland. He described the spot to his sister as a location where “the vehemence of winter has scooped and worn pools so deep that . . . you come at last to absolute dark brown night . . . no sound, no faintest gurgle even reaches your ear; the silent mystery of it all absolutely invades and possesses you; that is what I vainly tried to put into my Solitude.”

A more worked up version of this drawing appeared in: Spielmann., M. H. “Current Art. Royal Academy, — I.” Magazine of Art (1890). London: Cassell and Company. Pp. 217-21.

Details

Date: c. 1890
Object Type: drawing
Material: chalk on paper
Catalogue number: BrD29a
Artist: Leighton, Frederick, Lord, 1830, 1896
Credit notes: Brangwyn gift, 1936

Chalk study for Leighton’s oil painting ‘Solitude’, now in Maryhill Museum of Fine Arts collection, Washington. See also BrD29 for another study of the same subject. Solitude was inspired by studies the artist made of the Lynn of Dee near Braemar, Scotland. He described the spot to his sister as a location where “the vehemence of winter has scooped and worn pools so deep that . . . you come at last to absolute dark brown night . . . no sound, no faintest gurgle even reaches your ear; the silent mystery of it all absolutely invades and possesses you; that is what I vainly tried to put into my Solitude.”

This drawing was reproduced in: Spielmann., M. H. “Current Art. Royal Academy, — I.” Magazine of Art (1890). London: Cassell and Company. Pp. 217-21.

Details

Dimensions: 3.0 x 11.8 x 5.6
Object Type: furniture
Technique: carved
Catalogue number: H4
Artist: Unknown
Owner: Morris, William, 1834, 1896
Credit notes: Presented by Dr. Robert Steele, 1942

A snuff box used by William Morris of unknown, possibly Indian, origin. May Morris in her “Introduction to the Collected Works of William Morris” vol. XIII p.xix records: “He (Morris) took pleasure in all sorts of beautiful and precious boxes, and he prized certain trinkets, keepsakes from friends, such as an inlaid snuff box of choice work, though his everyday snuff-box was a somewhat plain silver one, and he carried his tobacco in a shabby little home-made bag of blue chintz – sometimes, until found and impounded by one of us, in a bank-bag tied with a bit of tape.”

The silver snuff box was given to Philip Webb by Jane Morris after Morris’s death. The blue tobacco pouch is in the Gallery’s collection (H28).

Details

Date: 1864-65
Dimensions: 20.3 x 75
Object Type: design
Catalogue number: A28
Artist: Morris, William, 1834, 1896
Credit notes: WMG, purchase, 1940

For the chancel roof beams at All Saints’ church, Middleton Cheney, Northants., where Morris, Marshall, Faulkner & Co. were employed by the office of Sir G.G. Scott to decorate the roof and make stained glass for the east (and other) windows 1864-65. This design is annotated with instructions by William Morris for the painter. The roof decoration in the chancel and nave was executed from Morris’s designs by a ‘Mr Cottam of Banbury’, probably George Cottam who was a painter, decorator and gilder working from 28 High Street, Banbury between 1835 and 1869. See also related A27.

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