Beaumont, William Henry 'Dyer' (SCC Newsletter January 2005)

W.Dyce Beaumont.(1835-1852)

His Ladies and the little Red BOOK.

Very little is known about Mr. Beaumont or his background. Attempts have been made to link him with other artists of the period named Beaumont without success. Although a 'cutter' of silhouettes his painting skills have led 'experts' to speculate that he might have been a miniaturist or landscape painter - again with no success. His place of residence is uncertain. He is sometimes referred to as "Beaumont of Cheltenham" and some of his works have been cut in that town. His only recorded trade label (see Mrs. McKechnie illus. 290 page 287 - more of an advertisement in my view) mentions visits to Bath and Brighton. So he clearly travelled about the country and may have had a base in Cheltenham. His working career seems to have started in the early 1830's and continued until at least 1852. The earlier date is from the costumes of his 'sitters' and the later date from a recorded signed silhouette of that date.

His name & signature. Mrs. McKechnie in her entry on Beaumont (pages 189-190) gives his name as W. H. Beaumont. In recent years works have appeared in the salerooms (i.e. Christie's, S. Ken. on 27th. Oct. 98 & 15th. Dec. 98) signed W. D. Beaumont and Dyce Beaumont - these works are clearly by Mr. Beaumont. Therefore it is likely that the D was mistaken for an H. Unfortunately many of his works are not signed at all and have to be attributed on stylistic 'evidence'. Many others are merely signed Beaumont in a small and neat hand on the obverse.

His work. Mrs. McKechnie divides his work into two periods. Firstly, his earlier plain black work perhaps embellished with a little gold of the 1830's. Works of this period would be difficult to attribute without a signature. Secondly, his work of the 1840's and 50's when he used lighter papers (often sepia) and painted details with some colour as well as gold. It was in this latter period that the true quality of his painting skills were revealed. For the purposes of this article I am looking only at his works of ladies, where these painting skills are seen to their best advantage. Also, his ladies perfectly reflect Victorian modesty and demureness. The sepia and grey base colours seem just right to convey this modesty. Mr. Beaumont was particularily adapt in painting the 'props' for his 'sitters'. He painted tables, chairs, flowers and many table ornaments as well as books. These 'props' were often painted in colour. He used colour sparingly on his 'sitters' - blue ribbons on an old lady's lace cap. He used chinese white with great finesse for lace clothing. He is best known for his full-length figure - either single or in groups. He is less well-known for bust-length works. I will be illustrating both in the following pages. I have noticed when looking at Mr. Beaumont's work that his painting of shadows is very specific. He puts a shadow all round the hem of a lady's long dress and there are always short shadows from the legs of tables and chairs. Studying these shadows might help with attribution in some cases.

His rating as a silhouette artist. John Woodiwiss was clearly a Beaumont admirer and he writes in his book - "really outstanding profiles demand a high degree of artistic taste and technique and in this respect few painters of the mid-nineteenth century could compare with W. H. Beaumont......" Further, he considered his ladies to be studies of "unusual charm" with their lace adornments painted "with the delicate touch of a master". Beaumont's conversation pieces he regarded as "perfect examples of Victorian calm and breeding."" Mrs. McKechnie considered his earlier work to be of moderate quality, but his later work to be "among the finest of the period." I hope you will agree with both by the end of this article!

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On this page I have photocopied 5 silhouettes by Beaumont - 4 of these have appeared at sales in recent years The conversation piece above on the left was Lot 12 at Bonhams, New Bond Street on 3rd. Feb. 2004. The base colour of the figures was sepia - there was some colour (blue) on the bonnet ribbons of the older seated lady. It was signed "Beaumont" on the obverse. The work had "suffered" over the years so detail is difficult to see. On the right above the seated lady was Lot 207 at Phillips, New Bond Street (now Bonhams) on 9th. November, 1999. She is painted in shades of grey with detail in chinese white and some colour. There is no signature, but she is clearly by Beaumont.

The lady below on the left is illustrated in Mrs. McKechnie (illus. 283) She is unembellished and her base colour is black. She is the only recorded example of Beaumont’s earlier 1830's work. Below in the centre is the well-known work of Mr. & Mrs. Rashleigh (a man at last!). It was Lot 81 at the Martin Willcock's Collection Sale at Phillips on lOth. Nov. 1998. Again sepia base colour with embellishments in shades of grey and chinese white. I had hoped to show the 'shadows' on this work, but was not successful. It is not signed and was owned prior to Mr. Willcocks by Mrs. McKechnie herself. Mrs. Rashleigh holds a basket of flowers and Mr. Rashleigh a book - well-known 'devices' used by Beaumont. Finally the lady below on the right was Lot 305 at Bonhams on 3Oth. Octo. 2001. She has some details in colour and gold - but no signature and ex. Peggy Hickman Collection.

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On the right I have illustrated a well-known work by Mr. Beaumont. She is part of the V. &A. Collection. She is illustrated in Mrs. McKechnie on page 287 illus. 289. Also, she features in "Silhouettes" by Peggy Hickman - being part of the National Gallery exhibition in 1972. I have reproduced her a little greyer than she is - her base colour is sepia with greyish blue clothing touched with gold. The black apron may indicate that she is in morning. She is signed W. D. Beamont on the obverse.

The second lady photographed below was sold at Butterfield & Butterfield San Francisco, U.S.A. on 20th. July, 1997. Unfortunately the detail is not marvellous as she has been reproduced from a photograph. Neverthless it is still possible to see the quality of the work - particularily the 'sitter's' lace bonnet and the lace sofa arm rests. The objects on the table are well portrayed and the whole work is very pleas ing. This reminds me of three Beaumonts that were sold at the Montague Sains bury Sale at Christie's S. Ken. on 6th. July, 1999. Each was of a single standing lady - each with her appropriate 'props'. One had an artist's easel another a musical instrument and the third some flowers and an item of furniture. They were wonderful examples of Beaumont's work - unfortuately I have no images for the record.

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On this page below I have photogrpahed a second lady from the Butterfield & Butterfield Sale - she has also been re-photographed. Her clothing detail is shown with gilding only and it is possible that she straddles the two periods of Beaumont's work described by Mrs. McKechnie. I am not quite clear why Mr. Beaumont did not 'finish off' the painting of the sofa, as it does not seem to fit with his usual neatness! The 'sitter's' feet are resting on a footstool - often used by Beaumont for his seated figures. "D. Beaumont" is signed below the stool.

On her left is photographed a bust-length lady . Her base colour is sepia with details of hair and the sleeve of her dress painted in black. She has a red neck-tie, some gold jewellery and chinese white for her organza collar. I have given this detail as some of her photos have been overdeveloped and it is difficult to see the colours and shading. Unfortunately I have no control over the skill of the technicians! It is obvious from her neck-tie that she is a cut-out - although it is often difficult to see this with Beaumont's work without feeling the cut-edge. Finally note her 'perky' eye-lash - all Beamont's eye-lashes seem to have a nice upward tilt.

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Illustrated above on the left is the "little red book" mentioned on the title page of this article. On the right is a silhouette of the 'compiler' of the book. He is Dr. Charles Henry Parry, a physician, living in Bath. He seems to have been aquainted with literary people of the period otherwise I know little else about him. His silhouette is by Barber - a cutter who worked for the Adelaide Gallery (see Mrs. McKechnie page 183). He may be the same artist as C. L. Barber - see Mrs. McKechnie's entry on this artist on page 279. He is a little known artist, who would be difficult to attribute without a signature. The book contains silhouettes of Dr. Parry's family and friends. It is arranged with a silhouette to a page - more details later!

The book was bought by Mrs. A. B. Andrews from a dealer on 25th. July, 1918 for £5. The dealer's description of the 'item' at the time was as follows:-

"Parry (Chas Henry) Portrait & Portraits of his family & friends - a collection of 27 silhouettes cut in paper, painted & touched with gold by Barber, Beaumont & others, 21 are signed in a small 8vo of coloured paper, bound in brown (now reddish brown I think!) morocco, large gold tooled vase in centre of covers. £5" The dealer added that Dr. Parry had neatly written the name & date under each silhouette. Further he stated that "the prices named (he was selling other items) are, in each case, the lowest I can accept & will allow of no further reduction". So obviously Mrs. Andrews settled! The book is now owned by a Member of the S.C.C. and I am grateful to the collector for lending me the book to reproduce all the silhouettes in it.

John Woodiwiss, Mrs. N. Jackson and Mrs. McKechnie all knew of the existence of this book and have referred to it in their respective entries on Beaumont. I think it is possible that Mrs. Jackson actually saw the book but the other two did not. I am assuming that Mrs. Andrews is the same Mrs. Andrews who collected the Stoner House silhouettes - she was probably known to Mrs. Jackson as a rival collector - but I am not sure!

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On the following pages I have reproduced all of the sixteen silhouettes by Mr. Beaumont in the "little red book". There are some other silhouettes in the book - in particular two interesting bust-length ladies by Haines of the Brighton Chain Pier - these will be the subject of an article at a later date. On the left above is Emma Mary Parry - reproduced as she 'sits' on her page in the book - she is life size. Her backing paper should be creamier. On her right is Augusta Bertie Parry - she is reproduced with her backing paper only and somewhat larger than life size. All the remaining ladies in the book are reproduced in this form. All their backing papers are too brown, but this does not detract from the quality of the silhouettes. The proofs of the images were near perfect, but again I have no control over the technician!

The six Parry ladies were all cut on April, 6th. 1842 at Summer Hill (presumably Dr. Parry's residence) - together with the silhouettes of Mi?s Ackland, and Bessy Card and Susan Shackerly. Francis and Elizabeth Williamson were also cut at Summer Hill, but in May 1844. Margaret and Ellen Bernard were cut in Bath in 1842. Finally Janet and Frances Sawbridge were cut in February 1845 – at ? Sion Place in the case of Janet and possibly her ? sister. The silhouette of Janet Sawbridge is particularily interesting as she is 'cut' lying in a chair. I am assuming she is an invalid of some sort.

All the silhouettes have the name Beaumont written in ink at the base of the backing paper. Also, some have Dr. Parry's initials in addition - i.e. C.H.P. We know from the dealer, who sold "the little red book" for Dr. Parry that it was Dr. Parry who had added the details of the 'sitters' with dates. I think that Dr. Parry also added Beaumont's name, as he knew Beaumont had cut the silhouettes, as all the handwriting would appear to have been written by the same hand.

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There are two silhouettes of Emma Gertrude Parry - one taken from the left and the other from the right. I have placed the two facing each other for the purposes of comparison. All silhouettes show Beaumont's skill with lace and organza - Francis Williamson and M. Ackland are wonderful examples of these skills. I especially like the striped neck-tie of Elizabeth Williamson. The hair styles worn by young ladies of the period are beautifully conveyed - especially their long Bronte-like side curls. Interestingly Bessy Card seems to be the only lady wearing jewellery - her long gold earrings are perfect!

On the right are the four lines penned by Dr, Parry on the back of the front cover of the book. As you will see it is in French and some of the words are not clear! As my French is poor I had hoped that my French friend would translate it for me, but she is on a protracted Christmas holiday - so you will have to wait until the next Newsletter for a translation!

Finally if any of you have a particularily nice example of Mr. Beaumont's work I would very much appreciate a photo if this is possible.