John Sell Cotman: A Harbour for the Soul #5 Van Dyck Study

This is the fifth article in a series that began three years ago with a rediscovered watercolour of ‘The Student’ by John Sell Cotman. That led to the consideration of several works that embodied ambitions that Cotman had for his artistic life in Norwich, and his eventual disappointment. Here we consider a drawing that appeared … Continue reading John Sell Cotman: A Harbour for the Soul #5 Van Dyck Study

Cotman and St Benet’s: Part 6; Later Works (continued)

This is the sixth in a series of articles exploring Cotman's association with St Benet's Abbey, Norfolk. In Part 1 and Part 2 we considered Cotman’s early treatments of the subject, in part 3 an etching published in 1813 and in part 4 works closely related to the etching. In part five we began to … Continue reading Cotman and St Benet’s: Part 6; Later Works (continued)

Cotman and St Benet’s: Part 5; Later Works

This is the fifth of a series of articles exploring Cotman's association with St Benet's Abbey, Norfolk. In Part 1 and Part 2 we considered Cotman’s early treatments of the subject, in part 3 an etching published in 1813 and in part 4 works closely related to the etching. Here we turn our attention to … Continue reading Cotman and St Benet’s: Part 5; Later Works

Cotman and St Benet’s: Part 4

This is the fourth of a series of articles exploring Cotman's association with St Benet's Abbey, Norfolk. In Parts 1 and 2 we considered Cotman’s early treatments of the subject, and in part 3 an etching published in 1813. The etching is a masterpiece and inspired a considerable body of related work. This part attempts … Continue reading Cotman and St Benet’s: Part 4

Cotman and St Benet’s: Part 3

This is the third of a series of articles exploring Cotman's association with St Benet's Abbey, Norfolk. Part 1 and Part 2 looked at Cotman’s early treatments of the subject, and here we discuss an etching published in 1813. Without doubt, this can be considered as one of the masterpieces of his entire career. [On … Continue reading Cotman and St Benet’s: Part 3

A Twopeny Portfolio: Introduction

I brightened a few grey days recently reviewing the contents of a portfolio of drawings that I acquired in 2017. I bought it for a Cotman watercolour that it contained, but sixteen other pencil drawings, seven watercolours and one photograph bundled with it have proved almost as equally engaging at the Cotman, in most cases … Continue reading A Twopeny Portfolio: Introduction

A Twopeny Portfolio: #1 Cotman, King’s Lynn

This article describes the first work of twenty-five bought in a lot of Sundry Drawings and Watercolours, offered at Anderson & Garland Ltd, Newcastle upon Tyne, 21 March 2-17, lot 46 as Various Artists (British 19th Century) Sundry drawings and watercolours, mainly topographical and floral studies, including a grisaille "South Gate Lynn, Norfolk", bearing the … Continue reading A Twopeny Portfolio: #1 Cotman, King’s Lynn

A Twopeny Portfolio: #2 after Cotman, Walsoken Chancel

This is the second work of twenty-five bought in a lot of Sundry Drawings and Watercolours, offered at Anderson & Garland Ltd, Newcastle upon Tyne, 21 March 2-17, lot 46 as Various Artists (British 19th Century) Sundry drawings and watercolours, mainly topographical and floral studies, including a grisaille "South Gate Lynn, Norfolk", bearing the signature … Continue reading A Twopeny Portfolio: #2 after Cotman, Walsoken Chancel

‘Etchings by John Sell Cotman’: An introduction

Introductions are normally best written last. At this stage, however, the outcome of this project remains at best distant, and at worst doubtful. It seems useful to offer at the outset a brief – if necessarily sketchy -overview of the etchings that follow. ‘Etchings by John Sell Cotman’ is the artist’s first essay in the … Continue reading ‘Etchings by John Sell Cotman’: An introduction