Hi Chris

Just recently my partner and I made our first ever auction purchase on a picture of two quirky little owls.  We fell in love with it straight away but had no idea who the painter was.  After acquiring this little treasure we began to research it to find out more about it.  We came across your article on H B Neilson and were warmed by your enthusiasm for his work.  We now believe it to be one of his pieces and just wanted to send you a photograph of the picture in gratitude for all the research you have done on Harry and of course show that people still do appreciate his talent (even though we had no clue who he was!).

Thank You

No, Jules and Andy, thank you! . Read about Harry Neilson here – perhaps you’ll catch the collecting bug.

I said I intended to learn more about him and added that I would appreciate hearing from any reader who could help me give Harry his rightful place in the roll call of gifted local artists whose lives and work should be memorialised. Needless to say, I was overwhelmed by the response.

So, I feel I owe it both to the several readers who responded and to Harry himself to pass on the knowledge passed to me. I do so in the hope that Harry’s pictures will receive a wider recognition among collectors and who knows, possibly cause more of his work to be unearthed which might otherwise be left lying unidentified, unknown and unloved.

I owe the biggest debt of gratitude to Mr G.H. of Birkenhead, who was kind enough to send at his own expense a copy of “A Record of the Neilson Family”, compiled by Geoff W. Neilson a family member now living in New Zealand. The large format illustrated book gives a history of the Neilson clan from the 16th to the 21st century.

Our interest, though, is in Harry, who was one of the leading comic illustrators of his day, illustrating various books as well as producing posters and postcards with a particularly fine series of comic animal sketches. He also contributed to the Savoy, Dainty and Premier series of picture postcards and told his own story in his book “Auld Lang Syne” published in 1935.

In the book Harry writes: “I was born in the year 1861, at number 39, Westbourne Road, Birkenhead. The house was pleasantly situated amid green fields which extended into the suburb of Claughton.

“Some water-logged old clay pits afforded free bathing in the summer to many naked little urchins. Small thatched cottages, with white-washed walls, little gardens, and all with pig sties, were dotted here and there, and were said to have originally possessed ‘squatters’ rights’ and so paid no rent, rates, or taxes!

“My father still wore half-Wellington top boots and the old fashioned stocks. The ladies wore poke bonnets, crinolines, Paisley shawls, and many-flounced, voluminous skirts, while young men of fashion affected peg-top trousers, little pork-pie hats with fluttering ribbons, and Dundreary whiskers! Policemen still wore top hats. Croquet was practically the only outdoor game played by ladies.

“In the year 1863 my parents moved with their family of children to the new house my father had built in Forest Road, Calughton, a suburb of Birkenhead. He bought the land, which was covered with fir trees, and one acre in extent, for 3s 6d per square yard! The house was called “Airliewood”, a name well chosen, as was that of the road which it faced, for all around us stretched forest land composed mostly of Scotch firs.”

Harry was born Henry Bingham Neilson in 1861, the eighth child of Andrew and Isabel Neilson. He completed an engineer’s apprenticeship with Laird Brothers, Liverpool, starting in 1879 and finishing in 1884. He worked on board the S. S. Noordland, as an electrician, on voyages across the Atlantic, between the years 1884 to 1886.

In 1887, he went to the Behar Province in India to work on an indigo plantation managed by his cousin. Whilst in India, Harry became a trooper with the Behar Light Horse Regiment.

In 1903, he was back in England and moved to “Meadowbank”, 36 School Lane, Bidston Village, where he lived with his sister, Louisa. There he continued his artistic work, illustrating at least 21 children’s books, many betraying animals with “human feelings and attributes”. He also sketched Christmas cards and developed a keen interest in amateur horse keeping, a subject which was to feature in some of his sketches. He remained at Meadowbank until his death in 1941.

Another transcript reprinted in the Neilson family record is a note written by Harry, expounding the conflict between motor transport and horse transport.
The note was “Dedicated to all lovers of a good nag” and his horse, Isabel, is herself immortalised by several references and sketches in Harry’s book Auld Lang Syne.

It reads: “In these fast-moving days of motor transport, where in most parts of the country it has become impossible to either ride or drive a pleasure horse, with any sense of security or comfort, it occurred to my mind that it might be of interest to horse lovers, if one of themselves were to present with pen & pencil, his experiences of horse keeping, as a hobby in a small way, between the years 1907 & 1927.

“When at the earlier of this period it was possible to enjoy country rides & drives with a degree of comfort, this will probably never occur again, especially by those who would keep a horse or pony for the mere joy of it; and this I have endeavoured to show in the following pages. I was my own Stable man groom. In fact everything in one, regarding the keeping, riding & driving of one of the most delightful & lovable little nags that ever wore a saddle or looked through collar, and her name was Isabel.”

Another sketch shows Bidston Church in about 1885 and in writing about some of the parishioners Harry says that “if the sermon happened to be drawn-out to much longer than the usual length, Mr Clover would draw his watch chain sharply between a finger and his signet ring, producing a distinctly rasping sound, which never failed to bring the discourse to the finish”!

Auld Lang Syne was published by Willmer Brothers and in his book, Geoff Neilson recounts how he met Mr Wrayford Willmer who vividly remembered the day this “persistent, eccentric little man” arrived at his office with a sheaf of papers and asked that they print and bind them as a book.

Their first reaction was to have nothing to do with it as bookbinding abd printing was not their trade. However, they eventually agreed to do it, originally printing 1,000 copies but binding only 500 which sold very slowly. The original price was 10 shillings and 6 pence.

The remainder sat on Willmer Brothers shelves for many years until such time as there was some community function in Bidston that created an interest in the records that Harry had put together and the rest of the copies went almost overnight.

On searching the Internet, Geoff Neilson discovered that the original manuscript of Auld Lang Syne was offered by Dominic Winter Book Auctions on July 24, 2002, the first two volumes in typescript, the third in a neat, legible hand with numerous illustrations in black ink, pasted at appropriate positions through the work.

It was offered together with a first edition of the printed book signed by Neilson on the inside front cover. The lot was estimated at £700-1,000 but appeared not to have sold. It is interesting to speculate where the material is today and what it would be worth!

Geoff Neilson also discovered that a collection of 325 items of original drawings, watercolour paintings and manuscripts by Harry are held in “2 oversize boxes” at the Manuscripts Division, UCLA Library,, Charles E. Young Research Library, in Los Angeles.

Auld Lang Syne was reprinted in a small limited edition by Birkenhead Library in 1996 and several readers contacted me to say they were lucky enough to own a copy. Sadly, I do not!

antiques@chris-proudlove.co.uk

Harry Neilson’s animal magic

Harry Neilson’s ability to put animals in human poses and situations was uncanny. This, coupled with his skill as a draughtsman, makes his sketches and watercolours both compelling and enduring.

No one is better equipped to explain the phenomenon than Harry himself. The following was probably used as a foreword to one of his children’s books. It is headed Canine Characters and reads: “It has been said of (Sir Edwin) Landseer, the great artist, that he introduced a too human expression into his pictures of dogs. Those who thus criticised him I think were mistaken. All lovers of dogs are well aware that their favourites are capable of expressing the apparently human element, and it was this Sir Edwin loved to bring out and portray. How often a look, or a glance from a dog surprises and amuses us by its uncanny resemblance to somebody we know!

“Not only in their expression does this occur, but also in their varied character and appearance. For they not only remind us of certain people but also, sometimes of the professions they follow! It is this, the accompanying sketches are intended to illustrate, and though the dogs are dressed-up, to indicate the parts they play, every care has been taken to preserve their natural expression and character.”

antiques@chris-proudlove.co.uk

Pictures show: Top, Among a cache of original sketches found in Harry’s house and given to Geoff Neilson when he visited from New Zealand were these two sketches, presumably from a children’s book, entitled respectively “Adventure with Gorillas and a Crocodile No.1” and “Adventure with a Rhinoceros No. 2”

Above: The Bulldog Breed – a sketch from one of Harry’s children’s books

First, I heard I talk by a museum and art gallery curator about the life and work of the Herdman family of painters and second, an auction catalogue dropped through my letterbox with one of the most amusing front cover illustrations I’ve seen in a long time.

It showed a watercolour by Birkenhead artist Harry B. Neilson and it’s illustrated here, so you can see for yourself. I know very little about either — and neither do many other people!

The talk was by Colin Simpson, curator of the Williamson Art Gallery in Birkenhead, who had been invited by Chester auctioneers Byrne’s to speak at a private view for potential buyers on the eve of their sale of a single-owner collection of paintings by Herdman and his son, also called William.

The Williamson has a large collection of the Herdmans’ work of its own, prompting one lady in the audience to recommend a visit, which I fully endorse.

But what intrigued me is how little we know about such a prolific artist. Colin Simpson admitted that more research was needed and even he went home having learnt something he was previously unaware of.

He told me later: “I’ve heard tonight from a man who told me that his sister was taught to paint by one of W.G. Herdman’s daughters. I was not previously aware that the Herdman girls were artists and I certainly didn’t know that one of them taught art.”

W. G. Herdman was prolific in more ways than one – he had 11 sons and five daughters – but until the other evening, it was believed that only William, William Patrick, John Innes and Stanley had become artists in their own right.

No other artist has done more to document Liverpool than William Gawin Herdman (1805-82). As a boy of 13 he started making notes about how the city and its buildings were changing around him and later, entirely self-taught, he produced dozens of unrivalled watercolour views of the city and surrounding districts at a time of unprecedented economic growth.

Mr Simpson said Herdman was known to take the Mersey ferry, walk as far as he could in half an hour or so and then sketch what he saw. Views of New Brighton and Eastham were favourites, as was one particular hostelry in Rock Ferry of which the Williamson has about 10 versions!

Herdman’s historical views dating from before his birth were done by talking to local historians or by copying the work of others. There is a sketch by Herdman of Woodside Ferry dated 1807. The artist was aged two at the time!

Herdman quickly built a successful career as a commercial artist, executing commissions and completing a series of Liverpool views which were used to illustrate a book he published himself titled “Pictorial Relics of Ancient Liverpool”. With it came wealth and he took a grand house at 41 Domingo Vale, Everton, an affluent area of the city.

He also taught art and in 1836, was elected a member of the Liverpool Academy. Run along similar lines to the Royal Academy, it held exhibitions of the work of local artists alongside that of leading artists of the day including Landseer, Maddox Brown, Holman Hunt and Millais.

Herdman was subsequently appointed secretary, but found himself at odds with the membership. He painted from real life, not the imaginary world of the Pre-Raphaelites (Colin Simpson described them as “the Damien Hirsts of their day”) and he objected when they were continually awarded the Academy’s annual prizes.

He resigned in 1857 and the following year, he founded the Liverpool Society of Fine Arts, but rivalry between the two resulted in the closure of both, the Society in 1862 and the Academy in 1865.

Today’s collectors need not be concerned by attributions. Watercolours signed in full or with the initials WGH are by Herdman senior. Those signed “William Herdman” are by his son, arguably the best artist among them, while those by Stanley are probably least good of them all.

Other artists copied Herdman’s work and his name was sullied by reproduction prints, some of them of poor quality printing. Original prints of Herdman’s watercolours made in his lifetime were much better.

Liverpool City Library has possibly the finest collection of Herdman watercolours and there are plans to mark the centenary of his birth with an exhibition there next year. Perhaps by then we’ll have learned a little more about one of Liverpool’s most famous artists.

Picture shows: A view of Liverpool’s Hanover Street looking towards Canning Dock and the Seaman’s Home Herdman’s son, also named William. It sold for £2,530 (Photo: Byrne’s Auctioneers, Chester)

antiques@chris-proudlove.co.uk

When Harry met tally-ho

In addition to an impressive selection of works by the Herdman family of artists, the Williamson Art Gallery in Birkenhead also exhibits a group of enchanting watercolours by the intriguing Edwardian artist Harry B. Neilson. And if we don’t know much about Herdman, we know even less about Harry.

My interest was aroused by a catalogue from Beeston, Tarporley auctioneers Wright Manley which contained these two charming examples of Neilson’s work, painted in 1920 as book illustrations.

As examples of anthropomorphism — animals dressed in humans’ clothes and adopting human traits — they are without equal. But what today’s anti-hunt lobby would say about them is anybody’s guess!

From a series entitled “A Day with the Reynardshire Hunt”, each picture includes a lengthy caption, the subtle wit and role reversal of which adds immensely to their charm. “Going To The Meet” reads as follows: Old Sourgrapes, the huntsfox, having reported that men were plentiful in Chivvyboys Spinney, everybody who was anybody in Reynardshire turned out in the highest spirits anticipating a rattling day’s run. The meet was at Gander’s End, half a mile from Brush Hall where Lord and Lady De Mask were entertaining a large party. The De Masks’ youngest son the Hon. Younge Cubbe, saw the beginning of the sport from the governess-cart.

The other, “In The First Flight” reads: The first find was, as expected, in Chivvyboys Spinney and the man gave the field a capital 20 minutes until the kill at Kilmanquick. Lady De Mask watched with evident pride the plucky riding of her the eldest son young, Lord Mountcanine. One or two unfortunate accidents were reported. Dr Rob Hencoop was thrown early, and spent most of the day hunting his mount while Mr Vulpy, K.C. exchanged a saddle for quickset hedge.

But who was Harry Neilson? According to a cutting from the Daily Telegraph, being sold with the watercolours, Neilson was born in Birkenhead. A renowned eccentric noted for his offbeat sense of humour, he illustrated many children’s books including Mr McGee’s Menagerie (1897) and also contributed to publications such as The Sketch. An ornithologist and local historian, he lived in Bidston Village and died in 1942.

Colin Simpson, curator of the Williamson, is quoted as saying: “(Neilson’s) role reversal is a constant theme. It’s quirky and amusing and possesses a novelty value that sticks in people’s minds, although no one seems to know anything about the artist.”

I intend to learn more about him and would appreciate hearing from any reader who can help. Sadly, I couldn’t afford the Wright Manley watercolours which had each been estimated at £500-800 in the sale on Tuesday this week. In the event, Going to the Meet sold for £2,600 and The First Flight fetched £1,600, much to the delight of the private collector who sold them.

Picture shows: Harry B. Neilson’s Going to the Meet – role reversal at its most wickedly witty (Photo: Wright Manley Auctioneers, Beetson)

antiques@chris-proudlove.co.uk

By Christopher Proudlove©

One day, I’ll write about the fortunes of a forgotten artist who will suddenly be rediscovered and lauded by art historians far cleverer than I’ll ever be. I’m not holding my breath!

Longstanding readers will know how keen I am. In these pages I’ve already reminded both them and myself about Liverpool’s Herdman family of watercolourists; Birkenhead artist Harry B. Neilson, (1861-1941); Liverpudlian artist, George Haydock Dodgson (1811 – 1880) and Wallasey-born Frances Macdonald.

I thought I was on to something when the respected dealer and fine art agent in Old Master and British paintings, Ben Elwes, contacted me to tell me about a rare picture by a previously little known Welsh artist which he has for sale.

Clearly the work is important. Not only was the picture, illustrated here, the star piece in his new gallery at 45 Maddox Street, but Elwes also unveiled it at the International Fine Art Fair in New York last week at an asking price of £70,000. It went down well and sold shortly after the fair opened.

It was painted by Thomas Jones of Pencerrrig (1742-1803) of whom few had heard until major exhibitions were mounted at the National Museum and Gallery, Cardiff, the Whitworth Gallery, Manchester, and the National Gallery in London, marking the bicentenary of his death.

If that wasn’t enough, a beautiful book titled “An Artist Rediscovered” was published to coincide with the exhibitions, co-edited by Ann Sumner, the curator of fine art at the National Museums and Galleries of Wales, and Greg Smith.

Although Jones was a talented landscape artist, until then little had been written about his life and work and many of his paintings had never before been published.

That was quickly resolved. In addition to essays by leading Jones scholars the book was illustrated by more than 150 paintings from throughout the artist’s career, many of which were being seen by a wider audience for the first time. Curses – beaten to it again!

Actually, I was 50 years too late. It was about then that Jones’ memoirs were rediscovered and published (by the Walpole Society), leading eventually to him being recognised as a major artistic personality where previously he had been all but forgotten.

The memoirs were never written for publication. They were, as he wrote at the time, “from short hints and Memoranda of a Diary, which for many years I had been in the habit of keeping, the original Intention only for the Amusement of vacant hours and the Perusal of a Few”.

But they are the most comprehensive memoirs of any artist of the time and they make fascinating reading.

Jones was a “gentleman artist”. He was the second of 16 children (seven of whom died in childhood) whose parents, Thomas and Hannah Jones, were landowners in Trefonnen, Radnorshire.

His mother inherited a house and estate in Pencerrig, near Builth Wells, and he was educated at Christ College, Brecon, and Jesus College, Oxford, destined for a career in the Church.

However, the death of his wealthy uncle, John Hope, who had been financing the young man’s education put paid to that ambition and rejecting the idea of going to sea — the other career for the younger sons of the landed gentry — he managed to persuade his parents to let him train to be an artist.

At the age of 19, he enrolled at William Shipley’s Drawing School in London, where he became a pupil of fellow Welsh artist Richard Wilson, but “copying drawings of Ears, Eyes, mouths & Noses” among “little boys of half my age” was humiliating for Jones.

But he was a quick learner. By 1766, he had been elected to the Society of Artists, the year after Gainsborough.

Although not really needing to make a living from painting, Jones became a professional artist, returning to Wales 10 years later.

However, like many other young artists of the period, he was desperate to travel abroad and like Wilson, Jones was determined to tour Italy. In those days it took a month to get there and he arrived in Rome towards the end of 1776.

In his memoirs Jones calls the city a “magickal land” and he remained there for almost two years before visiting Naples, socialising all the time with an expat British community of artists and patrons.

A series of small oil-sketches, painted during this time have been described as masterpieces of observation but after six years, Jones became homesick for his native land and returned in 1782 having heard that his father had died.

He took with him his lover, a Danish widow named Maria Moncke, and their two young daughters, a situation which must have caused raised eyebrows, despite her passing herself off as his housekeeper. They later married and settled in London with Jones receiving an annual income from his inheritance.

His elder brother, Major John Jones, a bachelor, died in 1787 and the artist found himself required to return to and take over the running of the family estate at Penkerigg near Builth Wells.

In addition to tracts of land, the family also owned Llandrindod Hall in Llandrindod Wells, which was let out as a hotel, as was his father’s family home, Trefonnen, all of which provided an annual income of £4,000 and a comfortable lifestyle for Jones and his family.

His anger at discovering that drawings he had left in London during his visit to Italy had been ruined was eventually forgotten and he busied himself making oil and watercolour sketches of the surrounding Radnorshire countryside.

Entering fully into the local society, he was appointed High Sheriff of Radnorshire in 1791 and a magistrate the following year. Maria died after a long illness in 1799, a loss which deeply affected Jones, who died at Pencerrig in 1803.

It is interesting to add that when 50 watercolours and oil views in both Wales and Italy by Jones were offered in an auction at Christie’s in London in 1954, they were described as “The property of a lady who had whose husband was a descendant of Thomas Jones, a pupil of Richard Wilson, RA”.

The sale excited the attention of two of London’s most important dealers — Colnaghi and Agnews — the most expensive lot selling for £33.12s (£33.60)! The National Museum of Wales was another buyer in the sale and their purchases can be seen there today.

Colnaghi was quickly able to find buyers for its purchases, their customers including the Ashmolean Museum, the Fitzwilliam Museum and the Birmingham Museum and Art Gallery. They were no doubt somewhat cheaper than the work sold in New York last week!

Pictures show, top:
Thomas Jones (British, 1742-1803) A Neapolitan Coastal View from Pozzuoli, painted in 1781. The oil on canvas measures 38.5 X 29 inches (97.8 X 73.6 cm) and is signed and dated lower left: THO:JONES · Ft MDCCCLXXXI A NAPOLI. In a period Italian carved and gilded frame, the work is priced at £70,000
Below:

Family life at Pencerrig was captured in this conversation piece by Jones’ friend, the Italian artist Francesco Renaldi (1755-1798). The painting shows Jones with his palette and easel, his wife Maria spinning wool and their two daughters, one of whom is playing the harpsichord. The second man is as yet unidentified and could be one of Jones’ brothers or Renaldi himself. In 1797, when the piece was painted, Maria was probably already suffering ill health and Jones was deeply affected by her death two years later. The painting can be seen in the collection of the National Museums and Galleries of Wales in Cardiff