An inspiring visit
Art Gallery & Museum
It is a rare treat to visit the work that has inspired a painter, and in the company of that painter.
Alan Langford, equestrian artist and highly skilled graphic artist, invited a group of friends and fellow artists to visit the Russell-Cotes Art Gallery with him to see the large oil, ‘The Gypsy Horse Drovers’ by Lucy Kemp-Welch, painted in 1894 when Lucy was a student under Herbert Von Herkomer RA.
In his book WELGORA Alan wrote about the day when Lucy was inspired to do this painting:
‘The idea for this painting occurred to her when she saw the approach of a number of heavy-hoofed cobs, driven by tough-looking Romany riders along a muddy country lane, under a grey wintry sky. Rushing from her lodgings with palette and brushes in hand, and the lid of her paint box to serve as a paint board, she executed a swift and skillful composition as this irregular, rampant procession proceeded before her.’
The curator of the Russell-Cotes Art Gallery showed us the actual sketch on the paint box lid.
This stunning little oil sketch is a very special art work in itself, portraying movement and detail in a few quick strokes of the brush, with the texture of the rough wood adding a further dimension.
The paint box lid with Lucy’s quick painted sketch of the Gypsy Horse Drovers mentioned is displayed on the reverse of the picture of a horse’s head shown in this photo, also by Lucy Kemp-Welch.
I wasn’t quick enough to get a photo of the box lid, but … what better excuse to go to the art gallery and see it for yourself?
Lucy went on to paint ‘The Gypsy Horse Drovers’ on an 8 foot long canvas – an enormous project for a diminutive young woman (she was in her early twenties) and in that Victorian time.
Alan explains in his book WELGORA how with trepidation Lucy presented the unfinished painting to be viewed by Herkomer, a man not averse to putting a huge black cross of paint across a student’s work if it was not to his approval!
But as Alan writes: ‘Herkomer was so impressed by ‘The Gypsy Horse Drovers’ that he recommended that Lucy submit it for the next Royal Academy Exhibition.
This she did, and it was hung in a good position just above the line and was quickly purchased by Sir Frederic Harris for £60.00.
At that time £60.00 represented a significant sum; Lucy would have been overjoyed.’
This was just the beginning of Lucy’s career, which included illustrating the children’s book, Black Beauty.
Her large oil ‘Gypsy Horses’, also in the Russell-Cotes Gallery, is shown in this photo being admired by Barry Miles, author and watercolour artist, and Peter Frost, painter, professional printer and retired New Forest Verderer.
There is something different to see at every turn in the Russell-Cotes Gallery – paintings, marble busts, Japanese incense burners, memorabilia, painted ceilings, stained glass, mosaic work and bronzes, all collected by the Russell-Cotes over the years from 1880 to 1901. Once after a trip to Japan, they travelled back with over 100 packing cases full of art and collectables!
The museum and gallery building, East Cliff Hall, was gloriously designed to the directions of Merton Russell-Cotes, as a gift to his wife. Its late Victorian style mixes Moorish, Japanese and French influences, making for exotic and indulgent surroundings.
It’s easy to find a piece to sit in front of and savour, and it’s also easy to miss a dozen others, but this makes it worth visiting again and again.
Apart from the paintings, which have been added to since 1902, the artwork that particularly took my eye on this visit was a glazed Parian ware figure of a boy, dressed in lederhosen and Tyrolean hat.
I used to make ceramic models of people and the largest I made was quite a challenge at about 12 inches tall.
This nearly life size figure was used for advertising in a dairy shop in Austria.
How did the artist make such a perfectly detailed piece of such size and how was it transported from pottery to shop, and then from country to country to arrive at the Russell-Cotes Art Gallery?
I was also intrigued by the story of Laura Knight, who in the early 1930s used to drive out to gypsy encampments and set up her ‘studio’ in the back of her Rolls-Royce.
Here you can see only a part of her large canvas ‘The Little Beggar’.
Laura Knight’s most notable work is ‘The Nuremberg Trial‘. This thought-provoking painting is at The Imperial War Museum, London.
This only touches on the artwork at the gallery and museum.
Next time you’re in Bournemouth, why not get away from the beach and walk up East Cliff to the art gallery and museum. It will be well worth it!
Wickham Horse Fair
(WELGORA is the Romani word for Horse Fair)
By ancient charter of King Henry III, 1269
2019 and still an unmissable event!
In his book
artist Alan Langford writes:
‘I have visited Wickham Horse Fair, in Hampshire, more times than I can remember.
There has been an annual Charter Fair at Wickham since the thirteenth century, always in late spring, and always, at least in my recollection, a rewarding experience.
The square becomes a busy profusion of merry-go-rounds, bumper cars and other fairground paraphernalia. A section of the Fareham to Winchester road is closed to traffic and used as a ‘flashing lane’ by the Romani horse traders.
If you are fascinated by skilled bareback riding then there is no other event, at least in Britain, to compare with it. They are followed by horse-drawn sulkies, their drivers often leading more horses behind them.
The confidence with which the lads and raklis rush down the gradual slope of the flashing lane, mounted on their coloured Vanners with no saddles or hard hats and unforgiving tarmac underfoot, though dangerously reckless, is also skilfully impressive.
They are followed by horse-drawn sulkies, their drivers often leading more horses behind them.’
Among the characters I notice when studying the milieu of visitors, those that are of Romani extraction differ in both posture and expression from the curious clusters of the local gorgias.
Many of the Romani are possessed of weathered strong-featured countenances, suggesting a long ancestry of tough individualism.’
The 2019 Welgora at Wickham was no exception, as full of excitement and life as ever.
Autumn, the time of year for the Beaulieu Road Station pony sales, when Commoners and other horse and pony owners gather to sell their livestock by auction.
It’s a good place to buy a New Forest filly or colt, to meet friends or simply to enjoy an atmosphere that is as old as the New Forest itself.
You may also see spirited cobs, favoured by Romani folk for their patience and strength, being put through their paces under the trees beside the auction ring.
The working horse has always fascinated local artist, Alan Langford. Featured here is his large oil painting of Beaulieu Road pony sales.
Alan’s book, WELGORA, provides Alan’s fascinating autobiography and full page spread pictures of his beautiful oil and watercolour paintings.
For more about the book click on title – WELGORA
The Tall Ships sail training vessel, Challenger 7, graced this year’s Southampton Boat Show with her presence, reminding me of Maldwin Drummond OBE, who is unfortunately not with us any more.
Maldwin was a keen and experienced sailor and a lifelong supporter of Sail Training, instrumental in building the STA schooners and Britain’s gift to Australia, STS Young Endeavour.
Little Knoll Press published Maldwin’s delightful children’s book, The Strange History of Seagulls, in November 2016. The book tells the history of the Waterside and Solent area – or rather George the seagull and his relations tell the story!
This beautiful, quirky book is fully illustrated by Maldwin. It starts with the Vikings arriving at Ashlett creek and traces the Waterside coastline’s story right through to the development of foil sailing on today’s racing boats.
More about the book – The Strange History of Seagulls