Royal Saloon of Arts (McKechnie Section 1)

It is evident from its stencilled trade label that the Royal Saloon of Arts (which has not previously been recorded under this name) was established by a 'Mr Atkinson' in 1839.

There is little contemporary documentation for this gallery. One reference, from a guide to Gravesend dated 1843, yields the following: '... a very effective Camera Obscura, the ground floor of the building containing which, is called the Saloon of Arts, where Likenesses are admirably executed at very trifling charges, by one of the most skilful artists of the age.'

References in directories of Gravesend, however, yield little information. The name of William Atkinson is recorded in 1846, and of R. C. Atkinson in 1847. The only earlier record, in 1844, is that of a pilot, W. F. Atkinson. There is no sound evidence that this gallery was run by F. Atkinson (q.v. for a discussion of the evidence).

Jackson (Dictionary) records the name of one A. Wilson, stating that he worked at the Royal Saloon of Arts, established at Windmill Hill, Gravesend, in 1839, and mentioning a silhouette by him. Since, however, Atkinson's is the only name given on the gallery's stencil (bearing the Gravesend address and stating the gallery was established in 1839) on the reverse of the illustrated example, it seems the gallery was managed at one time by Wilson and at another time by Atkinson. It was certainly the latter who was in charge when these illustrated examples were taken (four can be dated, from the sitters' costume, to c. 1843; one is dated 25 September 1844). Alternatively, 'A. Wilson' may not have existed; Jackson may have wrongly copied the name from her notes about Atkinson, who may have managed the gallery throughout its existence.

In her account of 'Wilson' Jackson recalls seeing 'a quaint picture of contemporary date showing the booth of this artist and his advertising at the Fair'.

The gallery was certainly still in existence on 25 September 1844, for in the Kilner collection there is a silhouette of a boy, Simeon Saxby, which was taken on this date at the saloon. This example bears on the back the stencilled label, again giving the name 'Mr Atkinson'.

It is evident, therefore, that the gallery was in being for at least five years (1839-44). There is another full-length example in the Kilner collection: a mother and child, taken in 1846, which is signed on the back 'By Atkinson'. Since this is much like an

earlier example by F. Atkinson, I have illustrated it under his name in this Section, although its provenance is by no means certain.

All the extant work (which is bust-length) is cut from black paper, and four of the illustrated profiles are quite skilfully embellished with gold. The profile of Simeon Saxby, though of similar shape, is not painted with gold. It seems, therefore, that the gallery offered both types of work. The long, sloping bust-line termination is typical of the period. Men's and boy's collars are left white, with the addition of a little rough shading in thinned pigment. The profiles are in rosewood frames, with gilt surrounds, except for the profile of Simeon Saxby, which is framed in maple.

Although no full-length examples are known, some may well have been executed. If the 'Mr. Atkinson' responsible for the management of this gallery was indeed F. Atkinson, it is more than likely that full-length work was produced.

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