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

Title Page to ‘Etchings by John Sell Cotman’

This is the second article in a series cataloguing John Sell Cotman’s first series of etchings, published in 1811. Here we begin with the frontispiece, a cornucopia of his graphic capabilities and variety of motifs. . John Sell CotmanEtchings by John Sell Cotman: Title page, 1811Private collection This is an architectural capriccio featuring a monumental … Continue reading Title Page to ‘Etchings by John Sell Cotman’

Dedication Page to ‘Etchings by John Sell Cotman’

This is the third article in a series cataloguing John Sell Cotman’s first series of etchings, published in 1811. Here, in the dedication plate, Cotman makes a handsome tribute to one of his most important early patrons, and also gives full rein to his courtly romanticism. John Sell CotmanDedication Page to ‘Etchings by John Sell … Continue reading Dedication Page to ‘Etchings by John Sell Cotman’

Plate 1, Beeston Priory, Norfolk

This is the fourth article in a series cataloguing John Sell Cotman’s first series of etchings, published in 1811. Here, in the first plate, Cotman gives advance warning that this series will be a little out of the ordinary. Instead of making a grand entrance, he rather shuffles onto the stage. Instead of making some … Continue reading Plate 1, Beeston Priory, Norfolk

Plate 2, The Manor House, York

This is the fifth article in a series cataloguing John Sell Cotman’s first series of etchings, published in 1811. Here, we turn to plate 2 to stand on a threshold, surrounded by strange signs. John Sell Cotman The Manor House, York, 1810 Private collection Photograph: Professor David Hill This is an impression of a copper-plate … Continue reading Plate 2, The Manor House, York