Watercolour, Harlech Castle, by John Varley, 1837.

Watercolour drawing depicting Harlech Castle. Two cows and a small group of people are situated on the beach on the coastline of the Irish Sea, with the castle and mountain range of Snowdonia in the distance. Signed and dated by the artist.

Historical Significance:

Born in Hackney, John Varley’s attended an evening drawing school run by J. C.Barrow at Holborn at the age of 15. These artistic leanings were discouraged by his father and he was subsequently apprenticed to a silversmith and later placed with a law stationer. He began exhibiting at the Royal Academy in 1798. In 1805 he became a founder member of the Society of Painters in Water-Colours, where he also exhibited works. He executed topographical watercolours in between sketching tours to Wales (1798 or 1799, 1800 and 1802) and Yorkshire (1803). From 1800 until about 1820 he attended Dr Monro’s ‘Academy’. Varley’s early watercolours are regarded as his most inspired. These often combine naturalistic qualities with the influence of artists such as J. S. Cotman and J. R. Cozens. Varley became more prolific, often exhibiting up to 20 watercolours a year. These were often of Welsh scenery and composed to a formula interpreted that reflects the style of the Old Masters.

Begun in 1283, Harlech castle was built by Edward I (1239-1307) during his conquest of Wales. It is situated on top of a cliff in Gwynedd, on the west coast of Wales. The castle has long been a popular subject for artists, including Gilpin in 1798 and Turner (See Wilton, cat. 867).

This view shows Harlech Castle from the south side. The distant view of Snowdon, beyond the coast line and the Irish Sea, has been brought forward in the composition. Varley exhibited two watercolour views of it in 1803 and it remained one of his favourite subjects, producing 23 versions of the view between 1803 and 1840. FA.343 shows the castle from a closer viewpoint than some of Varleys views of the subject. The orange tonality, use of gum Arabic for the rocks, tree trunks and foliage as well as scraping out for highlights heralds his later style.

FA.343