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Watercolour - View of the Ruins of the Cloister, the Belfry of St. Mary's Church, and the Vicarage, Tilty; Recording Britain Collection
  • View of the Ruins of the Cloister, the Belfry of St. Mary's Church, and the Vicarage, Tilty
    Rowntree, born 1915 - died 1997
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View of the Ruins of the Cloister, the Belfry of St. Mary's Church, and the Vicarage, Tilty; Recording Britain Collection

  • Object:

    Watercolour

  • Place of origin:

    Tilty, United Kingdom (painted)

  • Date:

    1942 (painted)

  • Artist/Maker:

    Rowntree, born 1915 - died 1997 (painter (artist))

  • Materials and Techniques:

    Watercolour on paper

  • Credit Line:

    Given by the Pilgrim Trust

  • Museum number:

    E.1418-1949

  • Gallery location:

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

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These ruins could almost be mistaken for part of the landscape if not for the rusting fence surrounding them. They are the sole remnants of Tilty Abbey, a Cistercian monastery founded in 1153. When Henry VIII dissolved the monasteries following his break with Rome, the abbey was demolished. Only the ruins of the cloister, shown here, and the chapel, which was converted into Tilty's parish church and whose belfry is visible in the background, survive.

Physical description

A watercolour drawing showing the ruins of Tilty Abbey enclosed by a fence in a field beyond the church. The vicarage is visible at left; the belfry, just above the ruins. Signed and dated.

Place of Origin

Tilty, United Kingdom (painted)

Date

1942 (painted)

Artist/maker

Rowntree, born 1915 - died 1997 (painter (artist))

Materials and Techniques

Watercolour on paper

Marks and inscriptions

'Kenneth Rowntree 42'

Dimensions

Height: 12.625 in, Width: 19.50 in

Object history note

This is one of three views of St Mary's Church, Tilty, done by Kenneth Rowntree for the Recording Britain scheme.
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 context note

Tilty was the site of a Cistercian abbey founded in 1153 and demolished following the dissolution of the monasteries. The ruins, depicted in this watercolour, are the sole remnants, along with the chapel (whose belfry is visible above the ruins), which was preserved as a parish church.

Descriptive line

Watercolour, 'View of the Ruins of the Cloister, the Belfry of St. Mary's Church, and the Vicarage, Tilty', by Kenneth Rowntree; from the Recording Britain Collection (Essex); England, 1942.

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.

[…]
ROWNTREE, Kenneth, A.R.W.S.

[…]

View of the Ruins of the Cloister, the Belfry of
St. Mary’s Church, and the Vicarage, Tilty.
Signed and dated in pencil Kenneth Rowntree 42.
Water-colour (12 5/8 x 19 1/2)

E.1418-1949'
Bettley, James and Nikolaus Pevsner. The Buildings of England: Essex. New Haven and London: Yale, 2007. pp.786-788.

Materials

Paper; Watercolour

Techniques

Watercolour drawing

Subjects depicted

Topographical views; Churches; Ruins; Essex; Tilty

Categories

Paintings; Recording Britain Collection

Collection code

PDP

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Qr_O123068
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