Queen's College Works of Art - Chawn Hill
A special feature of the College surroundings lay in the original works of art, statuary, oil-paintings, water-colours and engravings which, placed strategically about the College, exercised a mute but none the less real lasting impression, adding much to the normal classroom equipment and techniques. The works of art displayed were to promote worthy standards of taste and culture. But it is not only in art that efforts were made to stimulate interest and inform the mind at Queen's College. There were numerous works by local artists as well as views of local topographical and historical interest. The College Museum provided a constant fund of interest to an enquiring mind, including many natural history specimens, butterflies and moths, birds' eggs, mineralogical specimens, fossils, coins and trade tokens, shells and corals, Roman pottery and glass, china and glassware, examples of engraving processes and tools, writing instruments and specimens of lettering and penmanship, illumination and printing, curios and bric-a-brac, even a clothing ration book, gas mask, identity card and petrol coupons! The College collections also included two other features of special
note, first, a collection of bibles and biblical literature which had ' formed the basis of three notable exhibitions, two at Halesowen in the 1940's, the third at Stourbridge, in the College premises, in 1961, in commemoration of the 350th anniversary of the publication of the Authorised Version, 1611, which coincided with the publication of the New Testament portion of the New English Bible; second, a local history library which was probably the most extensive in
the district in private hands at that time, and which was also exhibited to the Stourbridge and Kinver Historical Societies.
Whilst these last-named collections required a more mature interest than could be expected from the younger children of the College, the collections as a whole afforded many opportunities of guiding pupils of all ages into interests and hobbies which contributed much to the growth of mind and character and to the formation of tastes which afforded them intellectual pleasure and self-respect in later years. No genuine interest or enquiry was discouraged and pupils had every opportunity of reading any subject of their chosen interest in the College Library, or of consulting, on request, any of the ten thousand books housed in the College and its several collections.
note, first, a collection of bibles and biblical literature which had ' formed the basis of three notable exhibitions, two at Halesowen in the 1940's, the third at Stourbridge, in the College premises, in 1961, in commemoration of the 350th anniversary of the publication of the Authorised Version, 1611, which coincided with the publication of the New Testament portion of the New English Bible; second, a local history library which was probably the most extensive in
the district in private hands at that time, and which was also exhibited to the Stourbridge and Kinver Historical Societies.
Whilst these last-named collections required a more mature interest than could be expected from the younger children of the College, the collections as a whole afforded many opportunities of guiding pupils of all ages into interests and hobbies which contributed much to the growth of mind and character and to the formation of tastes which afforded them intellectual pleasure and self-respect in later years. No genuine interest or enquiry was discouraged and pupils had every opportunity of reading any subject of their chosen interest in the College Library, or of consulting, on request, any of the ten thousand books housed in the College and its several collections.
[Above] 'The Martyrdom of St Sebastian ' - Oil Painting on canvas - by Josef Ribera [1589 - 1656] - Located above the Italian marble staircase.
[Left] Sculpture 'The Sisters of Bethany' - "The Master is come and calleth for thee." - (St John XI.28) - by John Warrington Wood [1839 - 1886] - Located in the Assembly Hall. |
Reception / Assembly Hall, Main [marble] Staircase and Landing
1 The Sisters of Bethany-"The Master is come and calleth for thee." (St. John XI, 28.) Marble group by John Warrington Wood (1839-1886). Sculpt. Rorna 1875. Exhibited at the Royal Academy in 1875.
John Warrington Wood was born in Warrington, Lancashire, receiving his early training at the an school of his native town and under John Gibson. Later he settled at Rome and was a frequent exhibitor at the Royal Academy, exhibiting no less than 27 sculptures between 1868 and 1884. His beautiful villa-studio was the largest in Rome, but, deciding to return to London he was seized with a fatal illness whilst on a visit to his native town and died at the early age of 47.
Among his best works are the following: Walker Art Gallery, Liverpool-bust of the founder, Sir Andrew Barclay Walker, and a marble group "Ruth and Naomi;" Warrington Art Gallery-a large marble group-" St. Michael overcoming Satan." Other notable works are " Eve " and " Elijah the Tishbite," the latter a statue of heroic size.
2. Engraving of Exhibit No. I by H. C. Balding-Published in the An Journal, Vol. XIV, 1875.
3. Cupid and a Bacchante-Marble group by S. Leveque.
4. Rachel-" And while he yet spake with them, Rachel came with her father's sheep; for she kept them." (Genesis xxix, 9.) Marble figure by John Warrington Wood (1839-1886). Sculpt. Roma 1874. Replica of statue exhibited at the Royal
Academy in 1868. Another replica stands in Warrington Art Gallery.
5. The Martyrdom of St. Sebastian-Oil-painting en canvas by Josef Ribera (II Spagnoletto) (1589-1 656). Spanish School. From the Knight Collection, Wolverley House.
6. Girl shelling Peas-Oil-painting on canvas by Sir Luke Fildes, K.C.V.O., R.A. (1844-1927), who received his early training at Warrington School of Art.
7. Between the Tides-Oil-painting on canvas by Walter Langley, R.I. (1852-1922). Exhibited at the Royal Academy in 1901.
8. Portrait of Lady Wheler, nee Penelope Glynne, died 1737-0il-painting on canvas attributed to Sir James Thornhill (1676-1734), English School, who painted the eight compartments of the cupola of St. Paul's Cathedral.
9. The Old Lock at Sunset-Oil-painting on canvas by Benjamin Wiiliam Leader, R.A. (born Worcester, 1831, died Surrey, 1923), painter of the well-known picture "February Fill Dyke " in the Birmingham Art Ga llery.
10. A Dead Hare-Oil-painting on panel by Moses Haughton the elder (1734-1804), a native of Wednesbury, Staffordshire.
II. The Chorister-c-Oil-painting on canvas attributed to Lemuel Francis Abbot (1760-1803), English portrait painter.
1 The Sisters of Bethany-"The Master is come and calleth for thee." (St. John XI, 28.) Marble group by John Warrington Wood (1839-1886). Sculpt. Rorna 1875. Exhibited at the Royal Academy in 1875.
John Warrington Wood was born in Warrington, Lancashire, receiving his early training at the an school of his native town and under John Gibson. Later he settled at Rome and was a frequent exhibitor at the Royal Academy, exhibiting no less than 27 sculptures between 1868 and 1884. His beautiful villa-studio was the largest in Rome, but, deciding to return to London he was seized with a fatal illness whilst on a visit to his native town and died at the early age of 47.
Among his best works are the following: Walker Art Gallery, Liverpool-bust of the founder, Sir Andrew Barclay Walker, and a marble group "Ruth and Naomi;" Warrington Art Gallery-a large marble group-" St. Michael overcoming Satan." Other notable works are " Eve " and " Elijah the Tishbite," the latter a statue of heroic size.
2. Engraving of Exhibit No. I by H. C. Balding-Published in the An Journal, Vol. XIV, 1875.
3. Cupid and a Bacchante-Marble group by S. Leveque.
4. Rachel-" And while he yet spake with them, Rachel came with her father's sheep; for she kept them." (Genesis xxix, 9.) Marble figure by John Warrington Wood (1839-1886). Sculpt. Roma 1874. Replica of statue exhibited at the Royal
Academy in 1868. Another replica stands in Warrington Art Gallery.
5. The Martyrdom of St. Sebastian-Oil-painting en canvas by Josef Ribera (II Spagnoletto) (1589-1 656). Spanish School. From the Knight Collection, Wolverley House.
6. Girl shelling Peas-Oil-painting on canvas by Sir Luke Fildes, K.C.V.O., R.A. (1844-1927), who received his early training at Warrington School of Art.
7. Between the Tides-Oil-painting on canvas by Walter Langley, R.I. (1852-1922). Exhibited at the Royal Academy in 1901.
8. Portrait of Lady Wheler, nee Penelope Glynne, died 1737-0il-painting on canvas attributed to Sir James Thornhill (1676-1734), English School, who painted the eight compartments of the cupola of St. Paul's Cathedral.
9. The Old Lock at Sunset-Oil-painting on canvas by Benjamin Wiiliam Leader, R.A. (born Worcester, 1831, died Surrey, 1923), painter of the well-known picture "February Fill Dyke " in the Birmingham Art Ga llery.
10. A Dead Hare-Oil-painting on panel by Moses Haughton the elder (1734-1804), a native of Wednesbury, Staffordshire.
II. The Chorister-c-Oil-painting on canvas attributed to Lemuel Francis Abbot (1760-1803), English portrait painter.
- Flower Piece-Water-colour by Phoebe Dighton (working 1820-1835), flower-painter to Queen Adelaide.
- Washing-day in the Country-Water-colour by David Cox (1783-1859), the most celebrated artist of the Birmingham School.
- Mountain and Lake Scene-Water-colour (oval) by John Varley (1778-1842)
- Church of S1. Peter, Rome; a perspective view of the interior after the designs of J. A. Graff. Copper-plate engraving by John Ulrich Krausen (1645-1719), Sc. et Ex. 1700. A wonderful example of the craft which must have necessitated the utmost patience and care and immense labour in cutting the plate. The resulting print shows amazing detail under the magnifying glass.
'The Proscribed Book' - Oil Painting by Peter Van
Schendel [1806 - 1870] - Located in the Principle's Study. [Webmaster remembers this painting which looked down upon all who were summoned to the Principle's Study - it was very unsettling]. |
Portrait of Lady of the Tudor period - Oil Painting by Michael Janson Mireveldt [1568 - 1641] - Located in the Principle's Study.
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PRINCIPLE'S STUDY
Portrait of a Lady of the Tudor Period-Oil-painting on canvas by Michael Janson Mireveldt (1568 1641). Flemish School.
the daughter of a Dublin miniature painter. Note the beautiful finish of the features exhibiting miniature-paintig technique.
29 Children and Bird's Nest-Oil-painting on panel by Elizabeth Green (born Halesowen, 1801). Exhibited
at the Birm ingham Society of Arti sts in 1847
30. " T he Proscribed Book "-Oil-painting on can vas by Peter van Schendel (1806-70). Dutch School. The painter of this striking picture, well-known for his market scenes and candlelight and firelight pieces, adopted the device of
placing his subject in a box or closet in orde r to secure the desired lighting effect which he observed through a peephole in the side of the box.
31. Miniature portrait painted on ivory (artist unknown). (Presented by Mrs. W. P. Lawley, Stourbridge.)
Portrait of a Lady of the Tudor Period-Oil-painting on canvas by Michael Janson Mireveldt (1568 1641). Flemish School.
- Katwyk, Hol1and-Oil-painting on panel by Jam es Webb (1825-1895). English School. Painter of the wel1-known picture " Mount S1. Michael" in the Tate Gallery.
- "Coast Scene "-Oil-painting on canvas laid on panel by Thomas Gainsborough (1727-1788). English School. An early example of the work of this eminent artist.
- A Woodland Scene-Oil-painting on canvas by James Stark (1794-1859). Norwich School.
- Betnkeller in Carnarvonshire-Oil-painting on panel by Paul Sandby R.A. (1731-1809). Exhibited at the Royal Academy, No. 566, in 1808.
21. A River Scene, with Vessels: Morning-Oil-painting on oval panel by Albert Cuyp (1606-1672). Dutch School. Exhibited at the Royal Academy, 1871, and sold from Lord Dudley's Col1ection, 1892. (Hofstede de Groot's Catalogue Raisonne-s-No. 671A.)
22. Boy at a window feeding his caged bird-Oil-painting on panel by Godfrey Schalken (1643-1706).) Dutch School. A wonderfully finished picture which matches the best work of Schalken's tutor Gerard Dou. Schalken was noted more particularly for his night-pieces and examples of his daylight pictures are rare.
23. Halt by the Wayside-Oil-painting on panel by Philip Wouvermans (1620-1668). Dutch School. This admirable artist is con sidered never to have been surpassed as a painter of horses.
24. "Reading the Bible "-Oil-painting on can vas attributed to James McNeil Whistler (1834-1903). English School. A clever study in the impressionist manner accomplished with great economy of effort and displaying the silvery tones favoured by Whistler.
25. '" Coast Scene "-Oil-painting on canvas attributed to John Brett, A.R .A. (1830-1902). English School and one of the Pre-Raphaelite Brotherhood. (See also No. 76.)
26 Venus and Adonis-Oil-painting on canvas by Peter Subleyras (16991749). French School.
27 Christ at the Column-Oil-painting on panel by Henry Goltzius (1558-1617). Flemish School. Bears the fol1owing inscription and signature in gold lettering Ego autem sum vermi& non homo Opprobrium Hominum
Abiectio pleb is. HG :F meaning-But I am a worm and no man. (Psalm 22, 6.) He is despised and rejected of men. (Isaiah 53, 3.)
the daughter of a Dublin miniature painter. Note the beautiful finish of the features exhibiting miniature-paintig technique.
29 Children and Bird's Nest-Oil-painting on panel by Elizabeth Green (born Halesowen, 1801). Exhibited
at the Birm ingham Society of Arti sts in 1847
30. " T he Proscribed Book "-Oil-painting on can vas by Peter van Schendel (1806-70). Dutch School. The painter of this striking picture, well-known for his market scenes and candlelight and firelight pieces, adopted the device of
placing his subject in a box or closet in orde r to secure the desired lighting effect which he observed through a peephole in the side of the box.
31. Miniature portrait painted on ivory (artist unknown). (Presented by Mrs. W. P. Lawley, Stourbridge.)
COLLEGE MUSEUM
32. A Prospect towards the East from the Lodgings of the Rev. Dr. Barton, Canon of Christ Church, Oxford-Capper-plate engraving (1754) by James Green (born Halesowen, 1729, died Oxford, 1759), Engraver to the University of Oxford and to the Society of Antiquaries.
33. The South West Prospect of Birmingham in the County of Warwick Copper-plate engraving by Samuel and Nathaniel Buck, 1731.
34. T he East Prospect of Birmingham.-Copper-plate engraving inscribed by the draughtsman, William Westley, to his Patrons Thomas Archer and Henry Archer, Esquires, and engraved by J. Harris, 1731.
35. The South View of Dudley Castle in the County of Stafford-Drawn and engraved by Samuel and Nathan Buck, 1731.
36. William Derham, D.D., F.R.S., Canon of Windsor-Capper-plate engraving by James Green (born Halesowen, 1729, died Oxford, 1759).
37. Halesowen Church, S.W.-Line engraving by F. Cary from a drawing by David Parkes (born Cakemore, Halesowen, 1763, died Shrewsbury, 1833) and published in the Gentleman's Magazine, 1803.
38. (a) Halesowen Abbey, Salop-Drawn and engraved by J. Storer for the Antiquarian and Topographical Cabinet,
(b) Halesowen, View from the Leasowes-Engraver and date unknown.
39. (a) Shenstone 's School-From a drawing taken in 1778 and published in the Gentleman's Magazine, 1795. This was the dame school immortalized in the poem "The Schoolmistress" by William Shenstone (born Halesowen, 1714, died Halesowen, 1763).
" In every village marked with little spire, Embower'd in trees, and hardly
known to fame, There dwells in lowly shades and mean attire, A matron old, whom
we Schoolmistress name, Who boasts unruly brats with birch to tame: They grieven
sore, in piteous durance pent, Awed by the power of this relentless dame, And
oft-times, on vagaries idly bent, For unkempt hair, or task unconn'd, are sorely
shent."
(b) Priory at the Leasowes-e-Published in the Gentleman's Magazine, 1795. This was one of the artificial ruins in the beautiful grounds, famed throughout Europe, of Shenstone's residence,
40 Sr. Kenelm's, Rornsley, Worcestershire. T. Underwood, Lithog., Birmingham.
41 St. Kenelm's Chapel in the County of Salop. Painted and engraved by Benjamin Green (1739-1798) and published 1778.
42 S.W. of Halesowen Abbey-One of a set of four etchings of Halesowen Abbey first engraved and published ifi 1781 and later acquainted and re-issued in 1809. .
43 Halesowen, Shropshire-Drawn and engraved by J. Storer for the Beauties of England and Wales, 1811.
44
(a) Halesowen, Shropshire -Drawn and engraved by J. Storer for the Antiquarian and Topographical Cabinet, 1807.
(b) Remains of Halesowen Abbey, Shropshire-Drawn and engraved by J. Greig for the Antiquarian and Topographical Cabinet, 1807.
45. Halesowen Abbey, Shropshire-Engraved by Sparro and published by S. Hooper in 1785.
46 Halesowen Abbey, Shropshire-Engraved by J. Storer from a sketch by D. Parkes and published in "The Itinerant" in 1801.
47 Halesowen Abbey-Engraved by James Parkes (died before 1833), son of David Parkes (born in Cakemore, Halesowen, 1763, died Shrewsbury, 1833) and published in " Tales, Legendary, Gothic and Romantic " by " A Northern Minstrel "; issued by C. Hulbert, Shrewsbury, 1825.
48 Halesowen Abbey, Shropshire-Engraved by W. Angus from a drawing by David Parkes and published in the Beauties of England and Wales, 1811.
32. A Prospect towards the East from the Lodgings of the Rev. Dr. Barton, Canon of Christ Church, Oxford-Capper-plate engraving (1754) by James Green (born Halesowen, 1729, died Oxford, 1759), Engraver to the University of Oxford and to the Society of Antiquaries.
33. The South West Prospect of Birmingham in the County of Warwick Copper-plate engraving by Samuel and Nathaniel Buck, 1731.
34. T he East Prospect of Birmingham.-Copper-plate engraving inscribed by the draughtsman, William Westley, to his Patrons Thomas Archer and Henry Archer, Esquires, and engraved by J. Harris, 1731.
35. The South View of Dudley Castle in the County of Stafford-Drawn and engraved by Samuel and Nathan Buck, 1731.
36. William Derham, D.D., F.R.S., Canon of Windsor-Capper-plate engraving by James Green (born Halesowen, 1729, died Oxford, 1759).
37. Halesowen Church, S.W.-Line engraving by F. Cary from a drawing by David Parkes (born Cakemore, Halesowen, 1763, died Shrewsbury, 1833) and published in the Gentleman's Magazine, 1803.
38. (a) Halesowen Abbey, Salop-Drawn and engraved by J. Storer for the Antiquarian and Topographical Cabinet,
(b) Halesowen, View from the Leasowes-Engraver and date unknown.
39. (a) Shenstone 's School-From a drawing taken in 1778 and published in the Gentleman's Magazine, 1795. This was the dame school immortalized in the poem "The Schoolmistress" by William Shenstone (born Halesowen, 1714, died Halesowen, 1763).
" In every village marked with little spire, Embower'd in trees, and hardly
known to fame, There dwells in lowly shades and mean attire, A matron old, whom
we Schoolmistress name, Who boasts unruly brats with birch to tame: They grieven
sore, in piteous durance pent, Awed by the power of this relentless dame, And
oft-times, on vagaries idly bent, For unkempt hair, or task unconn'd, are sorely
shent."
(b) Priory at the Leasowes-e-Published in the Gentleman's Magazine, 1795. This was one of the artificial ruins in the beautiful grounds, famed throughout Europe, of Shenstone's residence,
40 Sr. Kenelm's, Rornsley, Worcestershire. T. Underwood, Lithog., Birmingham.
41 St. Kenelm's Chapel in the County of Salop. Painted and engraved by Benjamin Green (1739-1798) and published 1778.
42 S.W. of Halesowen Abbey-One of a set of four etchings of Halesowen Abbey first engraved and published ifi 1781 and later acquainted and re-issued in 1809. .
43 Halesowen, Shropshire-Drawn and engraved by J. Storer for the Beauties of England and Wales, 1811.
44
(a) Halesowen, Shropshire -Drawn and engraved by J. Storer for the Antiquarian and Topographical Cabinet, 1807.
(b) Remains of Halesowen Abbey, Shropshire-Drawn and engraved by J. Greig for the Antiquarian and Topographical Cabinet, 1807.
45. Halesowen Abbey, Shropshire-Engraved by Sparro and published by S. Hooper in 1785.
46 Halesowen Abbey, Shropshire-Engraved by J. Storer from a sketch by D. Parkes and published in "The Itinerant" in 1801.
47 Halesowen Abbey-Engraved by James Parkes (died before 1833), son of David Parkes (born in Cakemore, Halesowen, 1763, died Shrewsbury, 1833) and published in " Tales, Legendary, Gothic and Romantic " by " A Northern Minstrel "; issued by C. Hulbert, Shrewsbury, 1825.
48 Halesowen Abbey, Shropshire-Engraved by W. Angus from a drawing by David Parkes and published in the Beauties of England and Wales, 1811.