In the gallery

Local Studies and Archives collections often contain paintings and prints connected with the area they cover, particularly if like Kensington and Chelsea the area is or has been one where artists lived or worked. But that doesn’t mean, of course, that our collection contains dozens of Turners or works by other famous artists. A Local Studies collection is far more likely to have works by lesser known professionals like William Ascroft or William Walter Burgess, or William Cowen, obscure figures like Francis Griffen, amateurs like Walter Greaves (or were he and his brother Henry semi-professionals?),  illustrators like Herbert Railton, unknowns like Marianne Rush and annonymous figures like the artist of the Red Portfolio.

But this is how we like it. It’s nice to loan out one of our small number of Whistler etchings to an exhibition as we recently did but there is far more pleasure in having a much larger number of sketches by Railton or Ascroft or possibly the entire oeuvre of Rush which can be shown to interested parties or blogged about.

This post is an  almost random selection of pictures I have shown to visitors or come across in the course of enquiries or have had at the back of my mind for years.



The river entrance gate to Cremorne Gardens, by Walter Greaves. The gardens were just a short step down the road from the Greaves boat yard where he and his brother worked in the family business. During the course of business they struck up a relationship with Whistler who liked to make sketches from their boats. Walter and Henry became close enough to the great artist to get some lessons from him, although it all turned sour in the end as Whistler’s friendships seemed to do. Walter inserted the figure of Whistler into many of his pictures, but the man in this picture could just as easily have been Greaves himself who modeled his personal style on that of the master. Neither of them are in this picture.



Lindsey Wharf, looking east I think.  The pub is the Queen’s Arms, a different pub from the King’s Arms, which was also in that vicinity. Chelsea enthusiasts may like to try to reconcile this view with photographs of the area. Forgive me if I  don’t do that today. Normally I like the minutiae of locations but we could be here all day.

[Added 18 September – at the prompting of Chris Pain, Chelsea history expert – see his comments below – I have reverse this image to make things clearer]

I’ve done a couple of posts of Ascroft in the early days of the blog, but cannot resist putting in one of his pastel sketches showing a country lane, probably in the Putney area, with one of his characteristic skies.



Horace Van Ruitl, on the other hand was an unfamiliar name to me until a few weeks ago when a researcher working on hid biography asked to see what we had. Scattered in the Chelsea general sequence were several pictures mostly of the interior of Chelsea Old Church. Once I had gathered them together I was quite impressed. This is a detail from one of the larger pictures which I chose because of the two women who add a burst of colour to the subdued scene.



Van Ruitl was like Ascroft a well known professional name in his day, and not completely forgotten.

This artist, Juliet Williams, is probably an amateur but an artist who was absolutely obsessed with the gates of Cheyne House. Here they are in winter:



And here in summer:



We also have an autumn and a spring, but also eight other versions, smaller and larger, sketches and completed pictures. I could practically fill a whole post with them. But I won’t. (Although that’s an idea for Christmas).

Chelsea is full of picturesque locations for painters. But the Kensington amateurs produced plenty of pictures too.



This is a pen and ink sketch by Frank Emanuel. We’ve seen his work before here, a picture of Tower Cressey, but this a a simple street scene showing Silver Street, which was the former name of the northern section of Kensington Church Street, leading up to Notting Hill Gate. The figure of the woman is what makes this one special I think. I wish he’s done more pictures of people.

Elizabeth Gladstone was an amateur watercolourist who was featured in the same post as Emanuel. This picture looks down Derry Street / King Street towards Kensington Square.



If you study the 6th image in this post on the development of the Barker’s building, you will recognize one of the buildings.

in contrast to Gladstone’s mostly late 19th century work, Joan Bloxham painted and drew in the 1930s.



Victoria Grove, still quite recognizable.



Another view I’m familiar with, Holland Street, a few minutes walk from the Library, showing the house of Walter Crane. He’s a famous artist we do have some work by, which we may look at one of these days.

Like many amateur artists, Elizabeth Gladstone’s pictures are usually simply views of street and buildings but occasionally she includes a curious detail as in this one.



York House, also in Kensington Church Street in the 1890s, featuring a sinister hooded figure, or is it simply a harmless monk? There were many religious establishments in Kensington in that period.

Finally, another Greaves for the road, signed by Henry, the less prolific of the two brothers, although they both often added to each other’s picture.



Chelsea riverside east of the Old Church, before the Embankment. Not an unfamiliar view for regular readers but we can always have one more.

This post is a bit of a trailer for others I might do this autumn about artists I haven’t covered in any detail so far so pardon me if it looks like a bit of a filler between Chelsea stories. I do need time between those.


I feel that I tempted fate last week by noting the death of another musician from the golden age of popular music. I was saddened to read that even as I was writing last week’s post, another bass guitar player from one of the great bands of the 1970s had died. The name Holger Czukay may not be as familiar as Walter Becker, but for me he was an even greater name. He played bass and other instruments and electronics for the German avant garde rockers Can. I saw Can play live in several London venues  – the Lyceum, the Roundhouse, Hammersmith Palais, the Theatre Royal Drury Lane – all of which are no longer used as music venues . They practiced “spontaneous composition” rather than merely improvisation and seldom played the same material without some massive variations, according to the weather, their mood, or the audience’s mood (I once saw them suddenly turn on an audience whose attention was wavering and shock them into submission). Czukay also made a number of remarkable solo albums. He was one of the first to use samples in his recordings. I’d better stop with that before I get maudlin. Can’s drummer Jaki Lieberzeit also died this year, leaving only their two vocalists and founder member Irmin Schmidt.

11 responses to “In the gallery

  • Roger Tiller

    So Sad we’re losing such a lot of great musicians.

  • anglosardo

    Dave, the picture of Lindsey Wharf is a reversed or flipped image. It’s the first time I’ve seen this particular sketch and also the first Greaves I’ve seen that uses this technique. His fellow Chelsea artist Theodore Roussel, on the other hand, nearly always produced flipped images. Don’t ask me why. Presumably it has something to do with using a mirror or some kind of camera oscura to obtain a more faithful perpective of the lanscape to be reproduced, but as to why the artist can’t then use a bit of tracing paper to re-reverse the image is beyond me.
    Here is the Lindsey Wharf picture flipped horizontally to obtain a view that we ought to recognise as Chelsea, or rather Battersea Reach at this point, looking west from what appears to be the Greaves’ family house at the bottom of Milman’s Street.

    A in Walter Greaves’ time the Queen’s Arms stood at number 113 Cheyne Walk on the corner of Riley Street, next door to the King’s Arms at 114, where is remained until it was bought up and closed down by a well-known Canadian musician, so the story goes. The King’s Arms had a back door onto Riley Street and was a very nice little pub.

  • anglosardo

    Here’s another picture of a similar view, this time the right way round and with Whistler in the bottom right.hand corner.

    And another, this time credited to both Walter and Henry Greaves.

  • anglosardo

    As for the original image above (which appears to show Cheyne Walk covered in snow) it may be that Whistler is present here too. He could well be the central figure of the five in the foreground, with two fine ladies on one side and maybe the Brothers Greaves on the other.

  • Reg Francis

    I am curious to know if anyone remembers the large and enclosed Pissoir that was just about where the two ladies are standing in front of Lindsey wharf. I suspect that it was removed in the early 1950’s

    • anglosardo

      Reg, are you sure you’re not thinking of the green toilet that was next to the Cremorne Arms, near Lots Road? I’m too young to remember the pub or the pissoir, though I know they were there (my grandfather apparently worked as a potman in the Cremorne Arms at some point), but I’m pretty sure there’s never been a public convenience where the ladies are standing in the Greaves sketch i.e. on the embankment between MIlman’s Street and Riley Street.

      • Reg Francis

        Chris,you are right, green it was and indeed it was much nearer to Lots Road. It was a stand up and pee only affair. I am struggling to place the Cremorne Arms?

  • onefootinthemud

    Hi Dave, I wondered if you had a date for the Greaves painting of Lindsey Wharf?

    I appreciate this may be completely impracticable, but I’d really love to get together a bit of an inventory of paintings & photographs of the Chelsea Foreshore/waterfront between about 1850-1890 for my PhD. I’ve made a bit of a start, and have been what I have so far to help recreate the streetscape in GIS, along with Business directories and the census records.

    Would you be able to help me at all with this, or are there too many?

    With thanks,



    • Dave Walker

      The problem with dating Greaves pictures is that where a date appears on a painting it was probably put on retrospectively in the early 1900s when there was some renewed interest in Greaves so a certain amount of guesswork is necessary and the subject matter doesn’t always help. Like Whistler, Greaves painted pictures of “old” Chelsea after the embankment had been built. There is a book called Images of Chelsea (1980) edited by Elizabeth Longford which is quite helpful.

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