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Watercolour - Seckford Hall, Bealings Magna (The Front)
  • Seckford Hall, Bealings Magna (The Front)
    Reeve, Russell , born 1895 - died 1970
  • Enlarge image

Seckford Hall, Bealings Magna (The Front)

  • Object:


  • Place of origin:

    Bealings Magna (painted)

  • Date:

    1941 (painted)

  • Artist/Maker:

    Reeve, Russell , born 1895 - died 1970 (painter (artist))

  • Materials and Techniques:

    Pen and ink and watercolour drawing on paper

  • Credit Line:

    Given by the Pilgrim Trust

  • Museum number:


  • Gallery location:

    Prints & Drawings Study Room, level D, case RB, shelf 27, box C

Built of bricks made from local river mud, the Tudor Seckford Hall rises out of the landscape like a natural extension of the land. When Russell Reeve painted the rambling facade in 1941, the house's fate hung in the balance: saved from demolition by Sir Ralph Harwood in May 1940, it had been commandeered by the army to billet troops the following month. After the war ended, Sir Ralph carried out a thorough, if not entirely historically accurate, renovation. Seckford Hall was converted into a hotel in the 1950s and remains so today.

Physical description

A watercolour of the front of Seckford Hall, showing the characteristic Tudor rooflines and chimneys.

Place of Origin

Bealings Magna (painted)


1941 (painted)


Reeve, Russell , born 1895 - died 1970 (painter (artist))

Materials and Techniques

Pen and ink and watercolour drawing on paper

Marks and inscriptions

'Russell Reeve 41'
Signed by the artist, lower right corner

'Seckford Hall, Bealings Magna'
Inscribed by the artist, below signature


Height: 11.375 in, Width: 15.875 in

Object history note

When Reeve painted this scene, Seckford Hall had recently been saved from demolition by Sir Ralph Harwood (who purchased it in May 1940) only to be transformed into housing for troops shortly thereafter. Sir Ralph restored the house completely, if not entirely faithfully, following the war; today it serves as a hotel.
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.

Descriptive line

Watercolour, 'Seckford Hall, Bealings Magna (The Front)', by W. Russell Reeve. Recording Britain, Suffolk.

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.
Palmer, Arnold, ed. Recording Britain. London: Oxford University Press, 1946-49. Vol 2: Essex, Suffolk, Cambridgeshire and Huntingdonshire, Northhamptonshire and Rutlandshire, Norfolk, Yorkshire. Introduction to Suffolk, p.49.


Watercolour; Ink; Paper


Watercolour drawing

Subjects depicted

Topographical views; Country houses


Recording Britain Collection


Prints, Drawings & Paintings Collection

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