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Cragside - National Trust · Armstrong,1stLord Armstrong,forwhom Cragsidewasbuilt.Others ... Cragside.Thisportraitwaspaintedby JohnCallcottHorsley,whowasthe brother-in-lawofIsambardKingdom

Jul 05, 2018

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Page 1: Cragside - National Trust · Armstrong,1stLord Armstrong,forwhom Cragsidewasbuilt.Others ... Cragside.Thisportraitwaspaintedby JohnCallcottHorsley,whowasthe brother-in-lawofIsambardKingdom

CragsideList of pictures and sculpture

Page 2: Cragside - National Trust · Armstrong,1stLord Armstrong,forwhom Cragsidewasbuilt.Others ... Cragside.Thisportraitwaspaintedby JohnCallcottHorsley,whowasthe brother-in-lawofIsambardKingdom

CragsideList of pictures and sculpture

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Like lots of Victorian houses,

Cragside is full of works of art,

from oil paintings and

watercolours to prints and

sculpture.Many of the pictures

were collected in the 19th

century byWilliam George

Armstrong, 1st Lord

Armstrong, for whom

Cragside was built. Others

were added to the collection by

his heirs in the 20th century.

THE ENTRANCE HALL

GEORGE FREDERICK WATTS, RA

(1817–1904)

William George Armstrong, 1st LordArmstrong of Cragside (1810–1900)Watts was one of the foremost portraitpainters of the 19th century. LordArmstrong wrote to his wife Margaret in1878, saying that he had given three longsittings toWatts for his portrait,complaining that the artist had asked foranother three. ‘Have not seen the thingyet,’ he wrote, ‘except an instantaneousglance I got as he turned it round. Ithought it looked very brown, but he istaking a great deal of pains with it &seems satisfied with his success.’

THE DINING ROOM

CLOCKWISE FROM LEFT:

HENRY HETHERINGTON EMMERSON

(1831–95)

William George Armstrong, 1st LordArmstrong of Cragside (1810–1900) 1880Lord Armstrong is seated on one of thesturdy oak settles in the grand stoneinglenook in this room. Reading thenewspaper, with his dogs at his feet, and afire blazing in the background,Armstrongis shown as a man of Victoriandomesticity, rather than the industrialmagnate he had by then become. In hisotherwise faithful depiction of theinglenook, Emmerson takes a permissibleartistic liberty in shunting the inscriptionabove the fireplace onto two lines insteadof one, so as to squeeze it into the picture.

BRITISH SCHOOL, 19th-century

Armourer DonkinA successful Newcastle solicitor and closefriend of William Armstrong, Donkinassisted the youngWilliam George, later1st Lord Armstrong, in the early days ofhis career as a lawyer, and encouragedhim in his scientific pursuits.

Manner of Sir THOMAS LAWRENCE, PRA

(1769–1830)

Portrait of an Unidentified LadyThis elegant lady may be AnneWatson,the older sister of Lord Armstrong, whomarriedWilliamHenryWatson(1796–1860) in 1826. If this identificationis correct, the portrait must have been

painted around the mid-1820s, sinceAnne died young in 1828, aged just 26.

BRITISH SCHOOL (‘J.B.’), 19th-century

JohnWilliamWatson (1827–1909)JohnWatson of Adderstone Hall,Belford, was the son of Anne andWilliam Henry Watson, and the nephewof the 1st Lord Armstrong. He marriedMargaret Godman of Bognor in 1859,and their son,WilliamWatson-Armstrong (1863–1941), later becamethe 1st Lord Armstrong of Bamburghand Cragside of the second creation.

THOMAS BOWMAN GARVIE (1859–1944)

WilliamWatson-Armstrong, 1st LordArmstrong of Bamburgh and Cragside(1863–1941) 1901This portrait of WilliamWatson-Armstrong on a charger was painted in1901, shortly after he inherited Cragsideon the death of Lord Armstrong, butbefore he was created Lord Armstrongof Bamburgh and Cragside, in 1903. Heis depicted in the uniform of theNorthumberland Hussars.

BRITISH SCHOOL, 19th-century

Anne Potter, Mrs William ArmstrongThe sitter is thought to be Anne Potter,wife of William Armstrong and motherof the 1st Lord Armstrong. She was thedaughter of a Tyneside colliery owner.The artist who painted this portrait andthat of her husband may have beenJames Ramsay (1786–1854).

1

LeftWilliam George Armstrong, 1st Lord Armstrong of

Cragside; by H.H. Emmerson, 1880

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BRITISH SCHOOL, 19th-century

William Armstrong (1778–1857)William Armstrong was the father of the1st Lord Armstrong. The son of a tenantfarmer, he began his career as a clerk witha firm of corn merchants in Newcastleand rose to own the business. In 1850 hewas made Lord Mayor of Newcastle.

THE INNER HALL

Sometimes portraits can lose theiridentity, even when they have been in afamily for generations. Such a fate hasbefallen the five portraits of men inmatching frames. The style of thepaintings and the sitters’ dress dates theportraits to the later 18th century. Theidentity of the men, however, remains amystery. The settings in which they aredepicted, and the attributes of theirprofessions shown alongside them,indicate that they followed careers in themilitary and the law. They are likely tobe ancestors of someone who marriedinto the Armstrong family, perhapsWilliam HenryWatson, who marriedLord Armstrong’s sister Anne, orWinifreda Adye, the first wife of WilliamWatson-Armstrong, Lord Armstrong’ssuccessor at Cragside. In between thedoors to the Library and the TurkishBaths is another version of the portraitof William Armstrong, Lord Armstrong’sfather, that can be seen in the DiningRoom. Above the door to the Library is aportrait of WilliamWatson-Armstrong,

1st Lord Armstrong of Bamburgh andCragside, by Thomas Bowman Garvie.

THE LIBRARY

CLOCKWISE FROM LEFT WALL:

GRAHAM GLEN (exh. 1897–1915)

Beatrice Cowx, Lady Armstrong(1862–1934)Beatrice Cowx was the second wife ofWilliamWatson-Armstrong, 1st LordArmstrong of Bamburgh and Cragsideof the second creation, whom shemarried in 1916. The eldest daughter ofJonathan Cowx of Tudhoe, Durham, shehad been secretary and housekeeper toher husband before their marriage.

GRAHAM GLEN (exh. 1897–1915)

WilliamWatson-Armstrong, 1st LordArmstrong of Bamburgh and Cragside(1863–1941)The second owner of Cragside is shownhere in academic robes. The portrait ispaired with that of his second wife,Beatrice, to the left.

JOHN CALLCOTT HORSLEY, RA (1817–1903)

Margaret Ramshaw, Lady Armstrong(1807–93) 1868Margaret Ramshaw of Bishop Aucklandwas the wife of William George, 1stLord Armstrong. She played animportant role in the design of thegardens at Jesmond Dene, the couple’shouse in Newcastle, and later atCragside. This portrait was painted by

John Callcott Horsley, who was thebrother-in-law of Isambard KingdomBrunel. It was probably through Horsleythat Lord and Lady Armstrong wereintroduced to the architect RichardNorman Shaw, who had remodelledHorsley’s house at Cranbrook and wasto work at Cragside.

MARY LEMON WALLER (1871–1916)William George Armstrong, 1st LordArmstrong of Cragside (1810–1900) 1898A more traditional portrait of LordArmstrong than Emmerson’s cosydepiction of him in the Dining Roominglenook, this shows the creator ofCragside towards the end of his life.

BRITISH SCHOOL, 19th-century

JohnWilliamWatson (1827–1909)This picture of JohnWilliamWatson,nephew of the 1st Lord Armstrong, issimilar to another portrait of him in theDining Room, in which he is shownholding a book.

WINDOWWALL:

ENGLISH SCHOOL, 18th-century, in the

manner of RICHARDCOSWAY, RA (1742–1821)

Portrait of an Unidentified LadyThe identity of the lady in this portraitremains enigmatic.

After RAPHAEL (1483–1520)

The Madonna della SediaThis is a 19th-century copy afterRaphael’s famous painting in thePalazzo Pitti in Florence, dated to

2

RightWilliam George Armstrong, 1st Lord Armstrong of Cragside; by Mary LemonWaller, 1898

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around 1513. It shows an exoticallydressed Madonna cradling a ratherpodgy Christ Child, looked on adoringlyby an infant John the Baptist.The original was widely copied fortourists in the 19th century.

RIGHT WALL, ABOVE:

JOHN TURNBULL DIXON

(c.1846–after 1921)

A Moorland Scene, with Rocky OutcropDixon was an amateur painter whoworked, with his brother David, for thefamily drapery business in Rothbury.David Dippie Dixon became librarian tothe 1st Lord Armstrong of Bamburghand Cragside and wrote UpperCoquetdale (1903), which was illustratedby his brother John.

BELOW:BERNARD BENEDICT HEMY (1845–1913)

A Yacht towed by a Paddle-BoatHemy studied art in Newcastle beforegoing to sea. He practised as aprofessional artist in North Shields and

exhibited work in Newcastle, Liverpool,and London. He was the elder brother ofThomas Marie Madawaska Hemy,whose picture of Armstrong’s ElswickWorks hangs to the right, and theyounger brother of Charles NapierHemy, whose painting of a Coastal Sceneis shown in the Drawing Room.

THOMAS MARIE MADAWASKA HEMY

(1852–1937)

The Elswick Works 1886Stretching out along the banks of theRiver Tyne are Armstrong’s factories atElswick. It was in this industrial suburbof Newcastle that Armstrong’s firmcommenced production in 1847. Thispicture dates from the 1880s, whenactivity there was approaching its peak.

RAFAEL SORBI (1844–1931)

Italian Girl with Doves 1866This picture was purchased by LordArmstrong in 1869 for 40 guineas and isa notable survival from his art collectionat Cragside.

BACK WALL:

JOHN TURNBULL DIXON

(c.1846–after 1921)

The River Coquet, near Shilmore 1891The solitary drover with his sheepdogand handful of sheep lend a sense ofscale to this atmospheric landscape.Winding through the Cheviot Hills, theriver Coquet reflects the leaden sky,overshadowed by brooding rain clouds.The lush green grass of the foregroundreminds us that the rain clouds arefamiliar visitors.

ABRAHAM VAN STRIJ (1753–1826)

Cottage InteriorAbraham van Strij and his youngerbrother Jacob (1756–1815) were born inDordrecht and worked in the style of its17th-century School, represented notablyby the artists J. G. Cuyp and NicolaesMaes. This view of a cottage interior,purchased by Lord Armstrong in 1873, istypical of Abraham’s work. An oldwoman sits reading by an open window,through which bright light streams into

3

Above The Elswick Works; by T.M.M Hemy, 1886

Right Italian Girl with Doves; by Rafael Sorbi, 1866

Far right Cottage Interior; by Abraham van Strij

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the room. The occupants of the goldfishbowl are safe – for the time being, at least– from the cat in the shadows.

THOMAS MILES RICHARDSON SR, RSA(1784–1848)

Off the Coast near Flamborough 1840Richardson was one of the mostprominent artists in Newcastle in thefirst half of the 19th century. He playedan important part in the artistic life ofthe city, co-founding a number ofsocieties in the 1820s and 30s, andencouraging the work of fellow artists.In this painting of Flamborough on theYorkshire coast, a mast cuts up throughthe composition, providing a verticalaccent against the dark horizon, throwninto relief by the warm tones of thesetting sun.

After SEBASTIANO DEL PIOMBO

(1485/6–1547)

La FornarinaThis is a 19th-century copy of a paintingby Sebastiano del Piombo in the UffiziGallery in Florence. The original was,until the late 19th century, thought to beby Raphael, and it became known as LaFornarina in the early 1800s. ‘LaFornarina’ was the name given toMargherita Luti, Raphael’s mistress, andthough the original picture is no longerattributed to Raphael, the title has stuck.The artist who painted this copy hasfollowed Sebastiano in dating thepainting 1512 at the lower left.

JOHN WILSON CARMICHAEL (1799–1868)

Moonlight Coastal Scene 1840Carmichael was born in Newcastle andwent to sea as a boy, before beingapprenticed in the shipbuilding industry.After turning to painting, he played anactive role in the promotion of art inNewcastle and moved to London in 1846.Here he has painted ships being luredonto a rocky coast by a wreckers’ bonfire.

BRITISH SCHOOL, 19th-century

Street SceneThis picture is thought to depict a streetin a town in France or Belgium. It hasbeen known as a view of Rouen, whichmay be possible, since WilliamWatson-Armstrong, later 1st Lord Armstrong ofBamburgh and Cragside, spent timethere as a young man learning French. Itappears in an 1891 photograph of theLibrary, hanging next to Albert Moore’sFollow my Leader, which is no longer inthe collection.

JOHN TURNBULL DIXON

(c.1846–after 1921)

St Mary’s Isle, near Whitley; A Storm inthe Offing 1891With its red-roofed cottages, it is thevibrant colours in this painting whichare perhaps most striking. Dixonpainted this picture before St Mary’slighthouse was built, and he exhibited itin 1891 at the Bewick Club inNewcastle. He has subtly combinedtraditional sailing vessels and a modernsteam ship in the same painting.

THE JAPANESE ROOM

The Japanese prints in this room weregiven to the Armstrongs by YorisadaTokugawa, a member of the Japaneseroyal family.

THE STUDY

Above the fireplace is a portrait of LordArmstrong by James Ramsay(1786–1854), kindly loaned to theNational Trust by Alvis Vickers PLC. Itshows Armstrong aged 21, when he wastraining as a law student in London underhis brother-in-law.Among the otherpictures in this room are watercolours byGeneral Sir John Adye (1819–1900). Hewas the father of Winifreda Adye, whomarriedWilliamWatson-Armstrong,later 1st Lord Armstrong of Bamburghand Cragside, in 1889. Adye had adistinguished military and diplomaticcareer, serving in the Crimea and India,and later as Governor of Gibraltar. Hewas also an accomplished amateur artist,and his watercolour views of Cragsideand Bamburgh, as well as Gibraltar andother places visited on his travels, can beseen throughout the house.

THE MAIN STAIRCASE

Two watercolour views of Cragside byE.A.Vernon-Harcourt are at the bottomof the staircase, next to a sketch and a

4

RightMoonlight Coastal Scene; by J.W. Carmichael, 1840

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photograph of the old house. As youascend the staircase, the portraits on theleft are of Lord Armstrong, Jane Potter,and the Rt Hon. JohnWilson Croker. Thelarger portraits on the facing wall arethought to be of Margaret Godman,MrsWatson (mother of the second owner ofCragside), and of an unknownman,whose portrait may be paired with that ofthe woman identified as Jane Potter. Thesmaller portraits are of WilliamWatson(1757–1814) and his wife Dorothy.

SCULPTURE

JOHN BELL (1811–95)

A Daughter of EveBronze, with silver chainBell achieved popularity with a series offigures, often including animals, invarious states of distress, and with hisUna and the Lion, which was reproducedin Parian ware, but his best-known worktoday is the Guards’ CrimeanWarMemorial of 1860, inWaterloo Place,London.A Daughter of Eve was exhibitedat the Royal Academy in 1853, andappears to have been originally owned bythe 4th Marquess of Hertford, whosecollections of art form the core of theWallace Collection in London. LordArmstrong probably bought A Daughterof Eve after Lord Hertford's death in1870. Its inspiration came doubly fromAmerica: from the phenomenal successof The Greek Slave (1843) by HiramPowers (who had earlier achieved famewith a statue of Eve) when shown at theGreat Exhibition in 1851, and from the

wave of revulsion against slavery arousedby the publication of Harriet BeecherStowe'sUncle Tom's Cabin in 1852.

THE BOUDOIR

Displayed in the Boudoir are some of themany watercolours at Cragside. Amongthe most striking are two largewatercolours in the middle of the wall tothe right: a view of Cragside with theiron bridge from the late 19th century,and a picture of a cascade by ThomasMiles Richardson Sr, an important figurein the artistic life of Victorian Newcastle.A similar picture by Richardson ofRoughtin Brig, this time in oils, can beseen in the Drawing Room. Othernotable pictures here are watercolours byGeneral Sir John Adye, and several viewsof Bamburgh Castle, which waspurchased by Lord Armstrong in 1893with the intention of converting it into aconvalescent home, and which is stilllived in by members of the Armstrongfamily today. Displayed opposite the dooris a plan for raising the tower at Cragsideby Edward Schroder Prior, an architect inthe office of Richard Norman Shaw.

THE RED BEDROOM andRED DRESSING ROOM

The Red Bedroom is hung with printsafter Landseer and Leighton. In the RedDressing Room are several small

paintings of Newcastle street scenes, andfour watercolours of English cathedralsby A.H. Findlay.

THE RED LANDING

At the far end of the Landing is HenryHetherington Emmerson’s large pastel,The Foreign Invasion, depicting festivitiesat Cullercoats. Another version of thiscomposition, in oil paint rather thanpastel, is in the Laing Art Gallery,Newcastle. More pictures by Emmerson,who was a friend of Lord Armstrong andwas strongly represented in hiscollection, can be seen in the Gallery.

THE MORNING ROOM

Displayed here are more watercoloursby General Sir John Adye, includingIndian landscapes, reflecting the time hespent there on military service, as well asviews of the Cragside estate.

THE BAMBOO ROOM

Displayed in the Bamboo Room isanother good selection of watercolours.The serene views of Pompeii (some ofwhich, however, show Vesuvius fumingominously in the background) are byJohn Surtees. Though he shows thearchaeological site without the hordes ofpeople who now visit the Roman ruins

5

Left A Daughter of Eve; by John Bell

Right Cragside; British School, late 19th-century

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there, Pompeii was a popular touristattraction even in 1881, when Surteesmade his visit. Either side of the bed, inthe top register of pictures, are twolandscapes by John Turnbull Dixon, theRothbury artist whose paintings can beseen in the Library. Over the fireplace isa large view of Gibraltar, where GeneralSir John Adye had been Governor.

THE ARMSTRONG ROOM

Exhibited in the Armstrong Room is abook of watercolours by HenryHetherington Emmerson and JohnTurnbull Dixon, presented to LordArmstrong by the people of Rothbury, incommemoration of the visit of thePrince and Princess of Wales to Cragsidein 1884 (see front cover). Emmersonwrote to Lord Armstrong in the Octoberof that year, saying he had been hard atwork on the book since he was atCragside, and asking if he could have atalk with him ‘as regards incidents & factsof the Royal visit’. He added, ‘I like mysubject the more I work at it.’ A facsimileof the book is on display in theWatercolour Gallery.

THE GALLERY STAIRS

HENRY HETHERINGTON EMMERSON

(1831–95)

A Young Girl with Flowers 1876The girl in this painting is thought to

have been one of the artist’s daughters.His palette and paint brushes can beseen on a chair at the right, and apainting rests on an easel to the left, allof which suggest the setting is to beinterpreted as his studio.

BRITISH SCHOOL, 1825

A Meeting of the Phrenological SocietyEight men are seated around a table,earnestly discussing the bumps on eachother’s heads. They are practisingphrenology, a pseudo-scientific pursuitwhich attempts to discern individualcharacter through examination of theshape of the head. Attendants havebrought glasses and decanters to aid thedebate.

HERMANN SCHMIECHEN

(born 1855 – active late 19th and

early 20th century)

Head of a Girl 1903This enigmatic picture, in its ornateframe, seems to be a free interpretationin paint of a marble bust by CharlesLouis Picaud, on display at the near endof the Gallery.

THE OWL SUITE

The portrait on the stairs leading to theOwl Suite may be of George Cruddas,one of Armstrong’s business partners.

THEWATERCOLOURGALLERY

Some of the finest watercolours atCragside are displayed here, includingworks by Girtin, T.M. Richardson andClarkson Stanfield. Among thewatercolours are coastal and marinescenes, compositions exploring the ideaof the ‘sublime’, depictions of Cragside,and works with northern or Scottishthemes. Armstrong collectedwatercolours for their artistic merit ratherthan local, family or sentimental reasons.

LEFT WALL, TOP ROW, LEFT TO RIGHT:

HARRY JOHN JOHNSON (1826–84)

Mountainous Landscape

HENRY MOORE, RA (1831–95)Salmon Pool, Moray Firth

WILLIAM BENNETT (exh. 1881–8)

Wooded Landscape

MIDDLE ROW, LEFT TO RIGHT:HENRY BRITTAN WILLIS (1810–84)

Scottish Highlands

General Sir JOHN ADYE (1819–1900)

Lakes at Cragside 1892

JOHN FREDERICK TAYLER (1802–89)

Evening – Cattle WateringPurchased by Lord Armstrong from LordDunmore’s sale at Christie’s in 1873.

6

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BOTTOM ROW, LEFT TO RIGHT:‘E. S.’

Cragside, Nellie’s Moss

THOMAS GIRTIN (1775–1802)

Bamburgh Castle 1794

‘E. S.’

Cragside, Nellie’s Moss

FACING WALL, LEFT COLUMN, FROM TOP:

GEORGE BARRET JR (1767–1842)

Wooded Landscape

General Sir JOHN ADYE (1819–1900)

Gibraltar

T.C.L. ROWBOTHAM JR (1823–75)

Wetterhorn, Grindelwald 1869

MIDDLE COLUMN, FROM TOP:T.C.L. ROWBOTHAM JR (1823–75)

Italian Lake Scene

T.C.L. ROWBOTHAM JR (1823–75)

Mountain and Lake Scene 1869

RIGHT COLUMN, FROM TOP:GEORGE BARRET JR (1767–1842)

Wooded Scene with Castle Ruins

CLARKSON STANFIELD (1793–1867)

Ancient GreeceBought by Lord Armstrong fromChristie’s in 1873 for 15 guineas.

T.C.L. ROWBOTHAM JR (1823–75)

Ventimiglia 1869

FACING WALL, ABOVE WINDOW:

WILLIAM JAMES MÜLLER (1812–45)

Moorish Figure

FREDERICK GOODALL, RA (1822–1904)

Two Young Girls

FREDERICK COKE SMYTH

An Old Jew and a YoungWoman

RIGHT WALL, TOP ROW,

LEFT TO RIGHT:

AARON EDWIN PENLEY (1807–70)

Scene between Lanark and Larig 1869

Attributed to DAVID COX, RWS

(1783–1859)

Sketch of a Mountain

HARRY JOHN JOHNSON (1826–84)

Twilight

RIGHT WALL, BOTTOM ROW,

LEFT TO RIGHT:

JOHN SURTEES (1817–1915)

Amble fromWarkworth Links

GEORGE CHINNERY (1774–1852)

Chinese Boatmen

EDWARD RICHARDSON (1810–74)

A View of Jersey 1869

JOSEPH MURRAY INCE (1806–59)

Classical Idyll 1827

JOHN MOGFORD (1821–85)

Gathering Seaweed at Sunset

BACK WALL, TOP ROW,

LEFT TO RIGHT:

EDWARDWILLIAM COOKE, RA (1811–80)

RedleafRedleaf was the home of WilliamWells,a major patron of Cooke.

AARON EDWIN PENLEY (1807–70)

Snowdon at Sunset 1869

JAMES BAKER PYNE (1800–70)

Margate 1841

BOTTOM ROW, LEFT TO RIGHT:

THOMAS MILES RICHARDSON SR

(1784–1848)

Coastal Scene: Dover

HARRY JOHN JOHNSON (1826–84)

On the Lago di Garda

WILLIAM CALLOW, RWS (1812–1908)

On the Seine

On the piano is an unfinished drawingby Emmerson of Lord Armstrong and hisFamily playing Cards. Armstrong can beseen in the centre. His nephew, JamesWatson of Adderstone Hall – with hisdistinctive whiskers – is on the right.

THE GALLERY

The arrangement here follows theoriginal, with large paintings on theright-hand (south) wall, and smallerones to the north. All the pictures on the

7

Left Italian Lake Scene; by T.C.L. Rowbotham Jr

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side walls of the Gallery are by theprominent Northumbrian artist HenryHetherington Emmerson (1831–95),whose sentimental child portraits,animal studies, landscapes and historicalromances, and fashionable Victorianinterest in tragedy and death, appealedto Lord and Lady Armstrong.

As you enter the main Gallery, behindthe arch to the left, there is an ovalportrait of a young girl in Highlanddress, which is paired with one of ayoung boy on the other side.

ABOVE:

HENRY HETHERINGTON EMMERSON

(1831–95)

Orphan of the Storm 1875An orphaned lamb turns its head towardsus plaintively, left vulnerable to the bleakwinter weather. Its little form stands outagainst the brooding clouds and the bodyof its dead mother lying amid the snow.

BELOW:

HENRY HETHERINGTON EMMERSON

(1831–95)

Silky, or Waiting for Orders 1874Lord Armstrong’s favourite BorderCollie lies on a stony hillside, its headdown in an alert position. This paintingwas bought by Lord Armstrong fromEmmerson in 1875 for 75 guineas.

HENRY HETHERINGTON EMMERSON

(1831–95)

AWinter Landscape 1875

A shepherd and his wife, mounted onone horse, slowly drive a flock of sheepdown a snow-covered track through thelandscape, assisted by their dog.

ABOVE:

HENRY HETHERINGTON EMMERSON

(1831–95)

Bamburgh Castle 1889Emmerson painted this view ofBamburgh Castle from the north, with arocky beach in the foreground, fouryears before Lord Armstrong bought thecastle in 1893. The picture was not inArmstrong’s collection, but waspurchased for Cragside in 1995.

BELOW:

HENRY HETHERINGTON EMMERSON

(1831–95)

Two Shorthorn Calves 1874With the growth of his estate inCoquetdale, Armstrong took an interestin improved breeds, though this pictureis entirely decorative. For a long timethis picture and its pendant, Silky, orWaiting for Orders, were hung over thedoors in the Dining Room.

EITHER SIDE OF THE ARCH:

EDMUND HAVELL JR (1819–94)

JohnWilliamWatson (1827–1909) andMargaret Godman, Mrs Watson (d.1922)1871Son of Lord Armstrong’s sister Anneand her husbandWilliam HenryWatson, JohnWilliamWatson ofAdderstone Hall, Belford, married

Margaret Godman of Bognor in 1859.The couple’s son,WilliamWatson-Armstrong, was made 1st LordArmstrong of Bamburgh and Cragsidein 1903.

Behind the archway, under the GilnockieTower, are a number of family portraits:

ABOVE:

MARY BERNHARD

WilliamWatson-Armstrong, 2nd LordArmstrong of Bamburgh and Cragside(1892–1972) 1973The 2nd Lord Armstrong of Bamburghand Cragside served as a Captain in the7th battalion of the NorthumberlandFusiliers during the Great War. He waslater Consul-General for Siam(Thailand) in Canada. This is aposthumous portrait of him, showingCragside, which he inherited in 1941, inthe background.

BELOW:

GEORGE HARCOURT, RA (1869–1947)

Kathleen England, Lady Armstrong(1898–1971) 1938Kathleen England, who became thethird wife of WilliamWatson-Armstrong, 1st Lord Armstrong ofBamburgh and Cragside, in 1935, isshown here in peeress’s robes.

8

LeftOrphan of the Storm; by H.H. Emmerson, 1875

Right Two Shorthorn Calves; by H.H. Emmerson, 1874

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GEORGE HARCOURT, RA (1869–1947)

WilliamWatson-Armstrong, 3rd LordArmstrong of Bamburgh and Cragside asa Boy (1919–87) 1930The 3rd and last Lord Armstrong ofBamburgh and Cragside, whosegenerous gift helped secure Cragside forthe National Trust, is shown here in amoorland setting. His pose is not toodissimilar from that of his father, shownas a boy in a portrait by Mary LemonWaller in the Drawing Room, thoughhere a stick is substituted for his father’sgolf-club.

ABOVE:

J. BARTHAM

WilliamWatson-Armstrong, 2nd LordArmstrong of Bamburgh and Cragside(1892–1972)A portrait of the third owner ofCragside with his military honours.

BELOW:

THOMAS BOWMAN GARVIE (1859–1944)

Winifred Watson-Armstrong(1894–1912)Perhaps one of the most beautifulpictures still at Cragside, this portraitshowsWinifred, daughter of WilliamWatson-Armstrong, 1st Lord Armstrongof Bamburgh and Cragside, and his firstwife,Winifreda Adye.

On the other side of the GilnockieTower are two further portraits:

GEORGE HARCOURT, RA (1869–1947)

Beatrice Cowx, Lady Armstrong(1862–1934) 1928The second wife of WilliamWatson-Armstrong, 1st Lord Armstrong ofBamburgh and Cragside, Beatrice Cowxis shown here in front of a tapestry. Anearlier portrait of her by Graham Glenis displayed in the Library.

GEORGE HARCOURT, RA (1869–1947)

WilliamWatson-Armstrong, 1st LordArmstrong of Bamburgh and Cragside(1863–1941) c.1928The 1st Lord Armstrong of Bamburghand Cragside is here shown against thesame tapestry that can be seen in thebackground of the pendant portrait ofhis second wife, Beatrice Cowx.

Returning to the Main Gallery, you cansee further pictures by Emmerson:

HENRY HETHERINGTON EMMERSON

(1831–95)

Waiting for the Boats 1870On loan from a private collection.

HENRY HETHERINGTON EMMERSON

(1831–95)

Faithful unto Death 1874In this enormous pastel, Emmersonmakesthe most of a melancholy local tragedywhich occurred in December 1874, when ayoung shepherd,Henry Hall, perished in ablizzard. Emmerson has painted theunfortunate man grey with frost, his anxiousbut loyal collies howling and snuffling.

HENRY HETHERINGTON EMMERSON

(1831–95)

Gilnockie Tower in 1530 1880In search of ancestry, Lord Armstrongclaimed some kinship with JohnnieArmstrong of Gilnockie, a notoriousborder reiver, or bandit, whose exploitswere immortalised in Sir Walter Scott’sballad of ‘Johnie Armstrang’. Johnniewas executed, along with other membersof his ‘gallant companie’, on the orders ofJames V at Hawick in 1530. Emmersonshows the triumphant reivers returningto Gilnockie Tower in Dumfrieshire,rather than depicting their fate at thegallows. Cragside’s own Gilnockie Towerwas designed by Richard Norman Shawin the early 1870s in imitation of theoriginal building.

HENRY HETHERINGTON EMMERSON

(1831–95)

Edith Emmerson: Aged Three 1874Lord Armstrong bought this paintingfrom Emmerson for 100 guineas in theyear it was painted. It combinesportraiture, showing the artist’s owndaughter, with the tradition of Victoriansentimental genre painting.

The sculpture in the Gallery includestwo marble busts of Lord Armstrong bythe Pre-Raphaelite sculptor AlexanderMunro, whose Undine can be seen in theDrawing Room, and a bust of Eve byEdward Hodges Baily.

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Left Faithful unto Death; by H.H. Emmerson, 1874

RightGilnockie Tower in 1530; by H.H. Emmerson, 1880

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THE DRAWING ROOM

The general arrangement here followsthat of the 1880s, when the room wascompleted.

CLOCKWISE FROM BEHIND DOOR:

THOMAS MILES RICHARDSON SR

(1784–1848)

Roughtin Brig, Parish of Iron-gray,near DumfriesRichardson was an important figure inthe artistic life of Newcastle in the early19th century. Roughtin Brig was boughtby Lord Armstrong in 1865, one of hisearliest purchases. It may be a study fora larger painting of the same subject byRichardson that was exhibited at theBritish Institution in 1832.

MARY LEMONWALLER (1871–1916)

Winifred Watson-Armstrong(1894–1912)The daughter of WilliamWatson-Armstrong and his first wife,WinifredaAdye, is shown here on the beach atBamburgh.

MARY LEMONWALLER (1871–1916)

Winifreda Adye, Lady Armstrong(1860–1914) 1905Winifreda Adye was the first wife ofWilliamWatson-Armstrong, 1st LordArmstrong of Bamburgh and Cragside.She is shown standing in front of theDrawing Room chimneypiece, oppositewhere the portrait hangs now.

MARY LEMONWALLER (1871–1916)

WilliamWatson-Armstrong, 2nd LordArmstrong of Bamburgh and Cragside, asa Boy (1892–1972) 1902The third owner of Cragside would havebeen around 10 years old when thisportrait was painted. Together withWaller’s portraits of his mother andsister, this portrait has hung here sincethe Drawing Room was re-hung afterthe sale of 1910.

ABOVE:

Attributed toWILLIAM JAMES MÜLLER

(1812–45)

River Scene with ChildrenThis little landscape may be a sketch fora painting by Müller known as TheYoung Anglers.

BELOW:

BRITISH SCHOOL, 19th-century

Landscape with a CastleA river flows past a ruined castle on arocky outcrop, while a woman washesclothes in the foreground, putting themout to dry on the rocks, accompanied byher children.

JAMES FRANCIS DANBY (1816–75)

Caernarvon at Sunset 1855James Francis Danby was the son of theBristol Romantic painter Francis Danby(1793–1861). He is known for hispaintings of landscapes in Wales,Scotland and the north-east coast, oftencast in the light of sunrise or sunset.

ABOVE:

CHARLES JONES (1836–92)

Highland Cattle in a MountainousLandscape 1865This landscape was another of LordArmstrong’s first purchases, boughtaround 1869. Jones was a successfulVictorian painter of animals andlandscapes.

BELOW:

EDWARD TRAIN (1801–66)

Mountainous Lake SceneThe subject of this imposing landscapeis thought to be a loch in the ScottishHighlands. Train was a Newcastle-basedartist, best known for his paintings ofScottish scenery.

HERBERT THOMAS DICKSEE (1863–1942)

After Chevy Chase 1894The fallen warrior, dead on the field ofbattle, is the subject of the folk balladChevy Chase, which recounts themedieval border skirmishes between rivalfamilies. Though typical of LordArmstrong’s taste (and similar in tone toEmmerson’s Faithful unto Death in theGallery), this painting was not in fact partof Lord Armstrong’s collection. Exhibitedat the Royal Academy in 1894, it wasgiven to the National Trust in 1977.

ABOVE:

JOSEPH PETITT (1812–82)

Windsor Castle from Clewer Meadows 1849This somewhat dramatised view ofWindsor was another of Lord

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Armstrong’s early purchases, bought for300 guineas around 1870, when it wasattributed to Thomas Sidney Cooper,the celebrated painter of landscapeswith cattle.

BELOW:

EDWARDWILLIAM COOKE, RA (1811–80)

San Giorgio Maggiore and the Salute,Venice, with Fishing Craft of Chioggiaand the LaguneCooke is known for his paintings ofmarine and coastal scenes, and madeseveral visits to Venice in the mid-1800s.Exhibited at the Royal Academy in 1853,this view of Venice was purchased byLord Armstrong in 1869 for 650guineas, sold in 1910, and recovered forCragside in 2002. Cooke knew LordArmstrong, advising him on the layoutof the gardens at Cragside.

JOSEPH MALLORD WILLIAM TURNER, RA

(1775–1851)

Kilgarren CastleTurner visited Kilgarren Castle on histour of southWales in 1798. He painteda number of views of the Castle,exhibiting Kilgarren Castle on theTwyvey, Hazy Sunrise previous to a SultryDay at the Royal Academy in 1799. LordArmstrong bought a painting ofKilgarren Castle in 1878 from thecollection of Munro of Novar, animportant patron of Turner.Armstrong’s Kilgarren Castle wasexhibited as a Turner at the Guildhall inLondon in 1899 alongside another

version of the composition, which theartist John MacWhirter, after seeing thetwo paintings together, regarded as theoriginal.When the major paintings inLord Armstrong’s collection were put upfor sale at Christie’s in 1910, KilgarrenCastle was among them. It did not reachits reserve, however, and was not sold,remaining to this day in the privatecollection of the Armstrong family. By ahappy coincidence, the National Trustwas bequeathed the present version –the very painting MacWhirter believedto be the original – by Lady MildredFitzgerald, in 1970. It was displayed atWordsworth House in Cumbria beforebeing transferred to Cragside.

ABOVE:

THOMAS DANBY (1817–80)

Llyn Cynwch, Dolgellau 1853This is a sketch for Danby’s HowShepherds lose their Sheep, exhibited atthe Royal Academy in 1853. Theshepherd boy lies asleep in the brackenin the foreground.

BELOW:

W. DE FLEURY (active mid-1860s)

River with Watermill and Village beyond1864

LEFT OF CHIMNEYPIECE:

BRITISH SCHOOL, early 19th-century

Portrait of an Unknown LadyThe style of painting and dress of thesitter indicate a date in the early 19thcentury.

RIGHT OF CHIMNEYPIECE:

MISS F.WESTPHAL (active 1864–7)

A Holstein Peasant Woman 1867A peasant woman is seated at tablepouring chocolate into a saucer. LordArmstrong bought this painting in1869, and it is shown here, to the rightof the chimneypiece, in an oldphotograph of the Drawing Room.

ABOVE:

CHARLES NAPIER HEMY, RA (1841–1917)

Coastal Scene 1892This painting of fishing boats at anchoris by a member of the Newcastle-basedfamily of artists, the Hemys. CharlesNapier Hemy was the elder brother ofBernard Benedict and Thomas MarieMadawaska Hemy, whose pictures canalso be seen at Cragside in the Library.

BELOW:

EDWARD PATRY (1856–1940)

Only An Orange Girl 1885This picture of a young girl in a tornskirt and blouse is one of the bestexamples still at Cragside of LordArmstrong’s taste for somewhatsentimental pictures of children. Despitethe prominent monogram in thebottom left-hand corner, it was oncethought to be by Sir John EverettMillais, whose Chill October andJephthah’s Daughter were formerly inArmstrong’s collection.

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Left San Giorgio Maggiore and the Salute, Venice, with Fishing Craft of Chioggia and the Lagune; by E.W. Cooke

RightOnly an Orange Girl; by Edward Patry, 1885

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JOHN EWBANK, RSA (1779–1847)

Alexander entering BabylonOn loan from the Hancock Museum inNewcastle.

ABOVE:

Capt. the Hon. FREDERICK WILLIAM JOHN

SHORE (active 1883–8)

Landscape near Tangier with Road,Cattle and FiguresThis painting of Tangier, signed F. Shore,is thought to be by the same artist whoexhibited views of Morocco andGibraltar at the Royal Academy.

WALTER CHARLES HORSLEY

(active 1875–1904)

TheWater-SellerAlso known as A Cairo Street, thispainting may have appealed to LordArmstrong in the light of his visit toEgypt in 1872. The artist was the son ofJohn Callcott Horsley, whose ovalportrait ofMargaret, Lady Armstronghangs in the Library.

SCULPTURE

ALEXANDER MUNRO (1825–71)

UndineThe water nymph Undine, whoaccidentally drowned her errant husbandwith an embrace, was the subject ofseveral 19th-century romances. Thefigure, which can be rotated on its stand,shows Munro’s virtuosity of techniqueand balance: the front foot barely touchesthe lilies. Munro was the son of a dyer in

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Inverness, but received encouragement asa sculptor from his headmaster and thenfrom Harriet, Duchess of Sutherland, forwhom he worked at Dunrobin andCliveden (NT). He was taught by E.H.Baily, and became a close associate of thePre-Raphaelites, carving both ideal worksand portrait busts. Examples of both areatWallington (NT).

THE BILLIARD ROOM

THOMAS BOWMAN GARVIE (1859–1934)

WilliamWatson-Armstrong, 1st LordArmstrong of Bamburgh and Cragside(1863–1941) 1911On 16 March 1911,WilliamWatson-Armstrong mentioned in a letter to hisson, who was then away at school, thathe had ‘been down in Rothbury thismorning at Mr Garvie’s, sitting for mypicture’. This portrait in the BilliardRoom, showing Armstrong in theuniform of the NorthumberlandHussars, is probably the result of thatsitting. Other portraits of WilliamWatson-Armstrong by Garvie can beseen in the Inner Hall and Library.

THE GILNOCKIE TOWER

Manner of GEORGE ROMNEY (1734–1802)

Miss Stopford c.1780The young woman in a wide hat, seatedbeneath a tree, is thought to have beenan ancestor of Winifreda Adye, the firstwife of WilliamWatson-Armstrong.

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ARMSTRONG’S COLLECTION

Many of the most famous works of art once in Lord Armstrong’s collection were sold at

Christie’s in 1910 by his great-nephew and heir,WilliamWatson-Armstrong, when the family hit

hard times. Among the paintings sold were two by the Pre-Raphaelite painter, Sir John Everett

Millais: Chill October (now in the collection of Lord LloydWebber) and Jephthah’s Daughter

(National Museum of Wales, Cardiff). These paintings had once taken pride of place in the

Drawing Room. Frederick, Lord Leighton’s Interior of a Mosque, which used to hang at the

bottom of the stairs up to the Gallery (where Emmerson’s Young Girl with Flowers is now), was

also sold and is now in the Harris Museum, Preston. Among the other pictures sold in 1910 were

works by J. M.W. Turner, David Wilkie, Edwin Landseer and David Cox. EdwardWilliam

Cooke’s Venice and T.M. Richardson’s Roughtin Brig were sold in 1910, but bought back by the

National Trust when they surfaced at auction in 2002 and 2004 respectively. The National Trust

is keen to acquire more pictures that have left the collection.

Text by Alison Fuller, Hugh Dixon and Alastair Laing

Front cover The Royal Visit to Cragside in 1884; by H.H. Emmerson.(The Prince of Wales is dressed in grey, Armstrong in a black top hat)

Illustrations National Trust Photographic Library/Andreas von Einsiedel p.5 (left);NTPL/Matthew Hollow p.11 (left); NTPL/Derrick E.Witty front cover, pp.1, 2, 3 (topand bottom left and right), 4, 5 (right), 7, 8 (left and right), 9 (left and right),11 (right).

© 2008 The National TrustRegistered charity no.205846ISBN 978-1-84359-259-4

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