An Old Fashioned Lancashire Holiday,
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Research by Anne Matthews and Stella Preston
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Acc No 121
Artist Charles Cattermole Artist dates 1832-1900 Medium etching Size 34.3 x 52.1 cm (13.5 x 20.5 in) Date engraved Donor Mary Alberta Briggs Date donated 28 October 1946 Also donated by Miss Briggs William Hogarth, 1697-1764, engravings An Election Entertainment The Polling Chairing the Member Miss Briggs donated 5 engravings, two of which are presently unlocated. One is the Cattermole above, and it is possible that the other may be Canvassing for Votes, which would complete the Hogarth series. |
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ARTIST
Charles Cattermole, who exhibited widely between 1858 and 1893, was the nephew of renowned artist, George Cattermole (1800-1868), a successful watercolourist and illustrator, mainly in watercolours. He was a friend of Charles Dickens and many other literary and artistic figures, including Sir Walter Scott. Charles was greatly influenced by his uncle George's work with many of the latter's historical scenes being recreated by him. He became a member of the Royal Academy in 1870 and exhibited at the New Watercolour Society, the Royal Society of British Artists and the British Institution. When he first exhibited at the New Watercolour Society in 1864, The Art Journal stated that 'he possesses qualities which will, before many years, win for him honour and reward …. action, character, and composition, excellencies wherein this artist bids to be preeminent. His antiquarian bent enabled him to recreate the backdrop of historical anecdote with accuracy. The focus of his art and attention to detail extended into theatre costume design, with some of his pieces still being held in the Royal Shakespeare Company's theatre collection and the V&A. Cattermole regularly worked for actor-manager Henry Irving, designing over 400 costumes and props for one notable production of Macbeth in 1888 alone. It was through a shared Victorian fascination for historical pictures that led to a fruitful association with Luke Walmsley (1841-1922), a Blackburn art dealer who was the vision behind the Byzantine inspired design of the Grade II listed 'White Church', Fairhaven, Lytham St Annes. Walmsley had become involved with Cattermole's commission from Henry Irving to design the costumes for Macbeth and this resulted in him asking Cattermole to paint a quintet of paintings. Walmsley's son, B Dean Walmsley, quoted in the Blackburn Weekly Telegraph, 29 April 1922, said that the subjects were entirely his father's suggestions: An Old Fashioned Lancashire Holiday, representing a Preston Guild The Last Days of Whalley Abbey The Palmy Days of Hoghton Tower (better known as James I Knights of the Loin of Beef) The Battle of Preston and Walton Old Blackburn IMAGE The Preston Guild dates back to 1179 and is the only such ceremony still celebrated in the United Kingdom. This Royal Charter, awarded in 1179 by Henry II, granted Preston the right to have a Guild Merchant. This Guild controlled the traders, craftsmen and merchants (Burgesses) and allowed them to renew their franchises for the right to trade in Preston with all its fringe benefits; Honorary Burgesses were also sworn in. At a ceremony, now held in the Guild Hall, the Clerk of the Guild reads out this original Charter. There is evidence of a Guild Court in 1328 and a celebration of the Guild Merchant in 1397. However, the regular pattern of holding a Guild Merchant every twenty years appears to have started in 1542, on the grounds that membership, which was for life, would only need to be updated once every generation. A local saying, 'once every Preston Guild', meaning 'not very often' originated from this time lapse. Traditionally the Guild Court must be opened on the Monday after the Feast of the Decollation (beheading) of John the Baptist, 29 August although celebrations take place over a number of days. There have been 26 Guilds with only one not taking place, due to WW2; it moved from 1942 to 1952. Cattermole's etching shows an official standing on the steps of the Market Square in front of half-timbered buildings and surrounded by people. This would seem to represent the commencement of the proceedings when the Guilds packed into the Market Square to hear the Proclamation read out, summoning all those who wished to attend. Although the establishment of Free Trade in 1790 abolished the need for a Guild and the rights of Burgesses, the celebratory aspects continue, providing a welcome opportunity for both the local populace and a large number of visitors to come together to enjoy processions, entertainment, such as fairs and side-shows, and sample a large variety of cuisine. |
REFERENCES
Stephen Sartin Catalogue (2001) www.artgallery.nsw.gov.au/collection Victorian Watercolours, Art Gallery of New South Wales, Sydney 2017 R K Engen, Dictionary of Victorian Engravers, Print Publishers and Their Works, 1979 www.britishmuseum.org/research/ The White Church, Fairhaven: An Artist Traders Protestant Byzantium by J C G Binfield, the Historic Society of Lancashire and Cheshire www.lskautioncentre.co.uk www.madeinpreston.co.uk www.visitpreston.com Hodge, Alistair, History of Preston, An Introduction pub Carnegie 1997 www.vaguelyinteresting.co.uk |
