Connections to county in this big collection
REGULAR nostalgia readers may recall the piece that appeared here on September 15 (“Showing off treasures from across the area”), which showcased some of the items in a local exhibition from 2012.
Staged by the Honourable Company of Gloucestershire at Prinknash Abbey, the exhibition brought together an eclectic and delightful jumble of interesting objects, some curiosities, others priceless, with strong connections to the county.
Fashionista Isabella Blow’s wedding dress. A ceremonial wheelbarrow. One of the horns from a cow named Blossom that played an essential role in Jenner’s smallpox vaccine. The stone cross carved by James Carne when a prisoner of war in Korea. These, plus other fascinations to capture the imagination were on show.
So it seems a good idea to revisit that exhibition of ten years ago, this time taking a peek at the paintings. Let’s start with Painswick Church, by Charles March Gere (1869-1957).
This Gloucester born artist was responsible for the illustration of Kelmscott Manor used in publications by William Morris, who lived at the house near Lechlade. Like William Morris, who was a leading light in the Arts and Crafts movement, Gere idealised rural life and many of his works present idyllic landscapes.
The church at Painswick would have been familiar to him, as he lived in the Cotswold town, famous for having 99 yew trees in its churchyard.
All manner of myths and legends attempt to explain why Painswick church is, like a frustrated cricketer, always one short of its century. But Laurie Lee gave a more straightforward reason. He said that every time people in Painswick planted the hundredth yew, the people of Stroud would wait until nightfall then go and dig one up, as no love was lost between the two towns.
The Great Flood, Gloucester 1947 by James Walker Tucker (1898–1972) is not only pleasing in its execution, but an accurate visual record of what the city’s lower Westgate area looked like when inundated. The army was called in to help when snow and ice from the long frozen winter of 1946/47 began to melt following the spring thaw in March.
Raised duckboards replaced pavements, residents moved upstairs and travel was only possible by boat when Gloucester became little Venice for weeks.
The Cider press at Owlpen by Norman Jewson (1884–1975) is a reminder of an autumn tradition local to this county when country folk gathered apples and perry pears to be turned into Gloucestershire’s best known beverage.
Norman Jewson bought Owlpen Manor in 1926, at which time it was little more than a ruin. Using his own skills and those of local tradespeople he brought the fine house back to its former glory by degrees.
Edward Wilson is best remembered as one of the tragic heroes who died with Scott in a hapless attempt to reach the South Pole. But as well as being an explorer and scientist, Wilson was a fine artist. Some of his paintings can be seen in Cheltenham’s art gallery, which is now named after the town’s famous son.
But the pencil sketch of Gloucester cathedral you see here belongs to the Stroud’s Museum in the Park. It’s mag
nificent don’t you think?
Threshing near Stroud, by John Nash (1893-1977) shows the changing face of agriculture in the county as steam traction engines began to replace horse power of the four legged kind.
In Cheltenham’s Wilson gallery you’ll find the painting titled Village Life, by Stanley Spencer (1891–1959). It was bought for what was then called simply Cheltenham Art Gallery and Museum with a grant, plus a donation from Sir George Dowty.
Stanley Spencer lived in Gloucestershire for two years at the White Hart in Leonard Stanley. The painting you see here is said to depict characters from the village including the pub landlord and his grandchild, a local laundry lady and Stanley Spencer himself in the brown suit looking uncomfortable.
The painting shows a group of people waiting for the second coming. Such an event, if it were to happen in Leonard Stanley, would of course be reported in detail by the Citizen and Echo.