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Watercolour - The Abbey, Little Coggeshall; Recording Britain Collection
  • The Abbey, Little Coggeshall
    Bayes, born 1869 - died 1956
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The Abbey, Little Coggeshall; Recording Britain Collection

  • Object:

    Watercolour

  • Place of origin:

    Little Coggeshall, United Kingdom (painted)

  • Date:

    ca.1940 (painted)

  • Artist/Maker:

    Bayes, born 1869 - died 1956 (painter (artist))

  • Materials and Techniques:

    Pen and ink and watercolour on paper

  • Credit Line:

    Given by the Pilgrim Trust

  • Museum number:

    E.1364-1949

  • Gallery location:

    Prints & Drawings Study Room, level F, case RB, shelf 10, box B

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An abbey has stood at Little Coggeshall since 1142. The building shown here, St. Nicholas's Chapel, dates from much later, and has undergone dramatic changes. After the suppression of the abbeys by Henry VIII, much of Little Coggeshall Abbey was pulled down and this chapel, the only surviving building, was converted into a stable with an attached pigsty. It was only restored to its original function as a church in 1860.

Little Coggeshall was bombed on 16 September 1940 -- close to the date when Walter Bayes painted this picture -- but only suffered light damage. The abbey emerged unscathed.

Physical description

A watercolour drawing of the side of the chapel, the only remaining building of Coggeshall Abbey. The medieval building is fronted by a lawn and simple flower garden; a dog lies on the lawn in the sunlight. Signed.

Place of Origin

Little Coggeshall, United Kingdom (painted)

Date

ca.1940 (painted)

Artist/maker

Bayes, born 1869 - died 1956 (painter (artist))

Materials and Techniques

Pen and ink and watercolour on paper

Marks and inscriptions

'W. B.'

Dimensions

Height: 13.25 in, Width: 18 in

Object history note

This work is from the 'Recording Britain' collection of topographical watercolours and drawings made in the early 1940s during the Second World War. In 1940 the Committee for the Employment of Artists in Wartime, part of the Ministry of Labour and National Service, launched a scheme to employ artists to record the home front in Britain, funded by a grant from the Pilgrim Trust. It ran until 1943 and some of the country's finest watercolour painters, such as John Piper, Sir William Russell Flint and Rowland Hilder, were commissioned to make paintings and drawings of buildings, scenes, and places which captured a sense of national identity. Their subjects were typically English: market towns and villages, churches and country estates, rural landscapes and industries, rivers and wild places, monuments and ruins. Northern Ireland was not covered, only four Welsh counties were included, and a separate scheme ran in Scotland.

The scheme was known as 'Recording the changing face of Britain' and was established by Sir Kenneth Clark, then the director of the National Gallery. It ran alongside the official War Artists' Scheme, which he also initiated. Clark was inspired by several motives: at the outbreak of war in 1939, there was a concern to document the British landscape in the face of the imminent threat of bomb damage, invasion, and loss caused by the operations of war. This was allied to an anxiety about changes to the landscape already underway, such as the rapid growth of cities, road building and housing developments, the decline of rural ways of life and industries, and new agricultural practices, which together contributed to the idea of a 'vanishing Britain'. Clark also wanted to help artists, and the traditional forms of British art such as watercolour painting, to survive during the uncertain conditions of wartime. He in turn was inspired by America's Federal Arts Project which was designed to give artists employment during the Great Depression of the 1930s.

Over 1500 works were eventually produced by 97 artists, of whom 63 were specially commissioned. At the time the collection had a propaganda role, intended to boost national morale by celebrating Britain's landscapes and heritage. Three exhibitions were held during the war at the National Gallery, and pictures from the collection were sent on touring exhibitions and to galleries all around the country. After the war, the whole collection was given to the V&A by the Pilgrim Trust in 1949, and it was documented in a four volume catalogue published between 1946 and 1949. For many years the majority of the collection was on loan to councils and record offices in each county, until recalled by the V&A around 1990. The pictures now form a memorial to the war effort, and a unique record of their time.

Historical significance: Coggeshall village was bombed by the Germans on 16 September 1940 but only lightly damaged; the abbey itself escaped unscathed.

Historical context note

An abbey has stood at Little Coggeshall since 1142. After the suppression of abbeys under Henry VIII, the lead roof of the largest building was auctioned off and most of the others pulled down. Only St Nicholas's Chapel, the building seen here, survived; it was converted into a pigsty and horse barn and functioned as such for nearly three centuries, before being converted back into a church in 1860.

Descriptive line

Watercolour, 'The Abbey, Little Coggeshall', by Walter Bayes; from the 'Recording Britain' Collection (Essex); England, ca.1940.

Bibliographic References (Citation, Note/Abstract, NAL no)

Catalogue of Drawings in the 'Recording Britain' Collection given by the Pilgrim Trust to the Victoria and Albert Museum published by the Victoria and Albert Museum, Prints, Drawings and Paintings Department, 1951.
The full text of the entry is as follows:
'ESSEX.

[…]
BAYES, Walter, R.W.S.

[…]

The Abbey, Little Coggeshall.
Signed - W B -
Pen and ink and water-colour (13 1/4 x 18)
(Reproduced Vol.II)

E.1364-1949'
Palmer, Arnold, ed. Recording Britain. London: Oxford University Press, 1946-49. Vol 2: Essex, Suffolk, Cambridgeshire and Huntingdonshire, Northhamptonshire and Rutlandshire, Norfolk, Yorkshire. pp.16-17, illus.
Palmer, Arnold, ed. Recording Britain. London: Oxford University Press, 1946-49. Vol 2: Essex, Suffolk, Cambridgeshire and Huntingdonshire, Northhamptonshire and Rutlandshire, Norfolk, Yorkshire. p.1.
'In 1940 Essex seemed in more urgent need of recording than any other county except Kent. Apart from being an easy target for air-raiders and a convenient dumping-ground for bombs from machines which had failed to reach objectives farther inland, it was also a likely area for invasion, and consequently sure of priority in the attentions of the War Office. Records of Essex, then, were wanted, and quickly, before the county was occupied by the British, or the German, Army.'
Bettley, James and Nikolaus Pevsner. The Buildings of England: Essex. New Haven and London: Yale, 2007. pp.246-248.

Materials

Paper; Pen and ink and watercolour

Techniques

Watercolour drawing

Subjects depicted

Abbeys; Essex; Little Coggeshall

Categories

Paintings; Recording Britain Collection

Collection code

PDP

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Qr_O120602
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