Plate 18: Kirkham Priory, Yorkshire (2)

This is the twenty-first article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 18 Cotman continues with his Yorkshire material, and selects a second subject at Kirkham Priory, and finds himself confronting some demons. John Sell CotmanKirkham Priory, Yorkshire, 1811Private CollectionPhotograph by Professor David Hill This … Continue reading Plate 18: Kirkham Priory, Yorkshire (2)

Plate 17: Kirkstall Abbey, Yorkshire

This is the twentieth article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 17 Cotman returns to his Yorkshire material, and selects a grand subject of Kirkstall Abbey, albeit almost completely smothered in ivy. John Sell CotmanKirkstall Abbey, Yorkshire, 1811Private CollectionPhotograph by Professor David Hill This … Continue reading Plate 17: Kirkstall Abbey, Yorkshire

Plate 16: The Old College House, Conway, Wales [Conwy]

This is the nineteenth article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 16 Cotman returns to his first sketching tour to Wales, but of all the grand subjects that he laid in stores, he chose to give us a dilapidated cottage. John Sell CotmanThe Old … Continue reading Plate 16: The Old College House, Conway, Wales [Conwy]

Plate 15, A Garden House on the banks of the river Yare, Norfolk

This is the eighteenth article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 15 Cotman provides one of the most obtuse, yet most poetic, subjects of the series. John Sell CotmanA Garden House on the banks of the river Yare, 1811Private collectionPhotograph: Professor David Hill This … Continue reading Plate 15, A Garden House on the banks of the river Yare, Norfolk

Plate 14: South side of Brayesworth Church, Suffolk [Braiseworth]

This is the seventeenth article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 14 Cotman returns to one of the most obscure subjects of the series. It is the second of three plates devoted to the site. John Sell CotmanSouth side of Brayesworth Church, Suffolk, 1811Private … Continue reading Plate 14: South side of Brayesworth Church, Suffolk [Braiseworth]

Plate 13: West Front of Byland Abbey, Yorkshire

This is the sixteenth article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 13 Cotman deviates from his usual tendency by selecting a well-known subject, and what is more, treating it from a recognisable point of view. John Sell CotmanWest Front of Byland Abbey, Yorkshire, 1811Private … Continue reading Plate 13: West Front of Byland Abbey, Yorkshire

Plate 12: West end of Braiseworth Church, Suffolk

This is the fifteenth article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 12 Cotman introduces a subject that takes his quest for obscurity and sequestration almost to absurdity. It is the first of three plates devoted to the site. John Sell CotmanWest End of Braiseworth … Continue reading Plate 12: West end of Braiseworth Church, Suffolk

Plate 11: Rievaulx Abbey, Yorkshire; the interior of the Refectory

This is the fourteenth article in a series cataloguing John Sell Cotman’s first series of etchings published in 1811. Here in plate 11 Cotman offers us a third subject at Rievaulx Abbey; more obscure, even, than the others. John Sell CotmanRievaulx Abbey, the interior of the Refectory, Yorkshire 1811Private collectionPhotograph: Professor David Hill This is … Continue reading Plate 11: Rievaulx Abbey, Yorkshire; the interior of the Refectory

Lights will guide you home: Turner at Calais #7

This article concludes the consideration of Turner’s watercolour and 1836 engraving of the harbour at Calais. In the previous instalment I claimed that the engraving was representative of the cutting edge of image technology. Here I propose that the same edge cuts through the content. The lighthouse itself is a beacon to modernity. Though lighthouses … Continue reading Lights will guide you home: Turner at Calais #7

Lights will guide you home: Turner at Calais #6

This article continues the consideration of Turner’s watercolour and 1836 engraving of the harbour at Calais. In the previous instalment we contrasted Turner's view with some more straightforward treatments of the subject. Here we begin to explore the range of aspects woven into it. A dreamwork is churned first in the imagination of the artist, … Continue reading Lights will guide you home: Turner at Calais #6