Landing the Catch
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Research by Sally Banister & Norma Smeaton
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Acc No 35
Artist Alfred John Bennett
Artist dates fl 1861-1923
Medium oil on canvas
Size 101.6 x 127 cm (40 x 50 in)
Date painted unknown
Inscr: signed
Donor John Broadbent 1888-1945
Bury New Road, Kersal, Manchester
Date donated March 1931
Frame label says:
Landing the Catch by A J Bennett presented to the Borough of Lytham Saint Annes by John Broadbent Esquire of Manchester, March 1931
Also donated Acc No 3 'Winter in Holland' by J Bayer (attributed)
Artist Alfred John Bennett
Artist dates fl 1861-1923
Medium oil on canvas
Size 101.6 x 127 cm (40 x 50 in)
Date painted unknown
Inscr: signed
Donor John Broadbent 1888-1945
Bury New Road, Kersal, Manchester
Date donated March 1931
Frame label says:
Landing the Catch by A J Bennett presented to the Borough of Lytham Saint Annes by John Broadbent Esquire of Manchester, March 1931
Also donated Acc No 3 'Winter in Holland' by J Bayer (attributed)
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ARTIST
There is some ambiguity about the artist of this painting as the researchers have not been able to verify the signature and there are several artists with similar names from this era. It is most likely that this is the work of Alfred John Bennett, who is known to have been exhibiting between 1861 and 1923. Alfred Bennett was born in London. He married Catherine Avery in 1889 and they had one daughter, Mary Catherine. Bennett worked as a jeweller whilst regularly submitting paintings to the Royal Academy. He depicted well known London landmarks. Many of Bennett's works can be found in public art collections, including two watercolours in the collection of Brighton & Hove Art Gallery. PAINTING In this painting the artist employs the dramatic effect of figures silhouetted against the setting sun, possibly influenced by Turner's paintings of sunsets. This painting depicts women bringing home the catch. The women could have been supplementing their income by gathering shellfish by hand and transporting their catch by donkey. Two of the women are carrying sacks, their backs bowed with the backbreaking work. The hardship of this work probably explains the expression on the face of the women at the front of the group and as the painting shows a sunset they have probably been working all day. |
REFERENCES
Wikipedia 1891 and 1911 census The Secret Life of Cockles, The Observer, 28 January 1914 Vol 2, Benezit Dictionary of Artists |
