Neville, J. (SCC Newsletter June 1994)

J. NEVILLE. c 1830

More about a known ARTIST.

I recently took the opportunity to have a look at the Hove Museum's Collection of silhouettes. I was keen to see the collection as a whole (there are about 31 items.) but in particular to see if there were any unrecorded 'gems' and to study in some detail the 'authenticated' silhouettes by Mr. Neville recorded by Mrs. McKechnie (page 433). Sadly there was nothing in the Collection that really fired my enthusiasm - although there were a few silhouettes of interest. None of the silhouettes are currently on display in the Museum - a few by Gapp and Haines used to be in the past but due to reorganisation these have been returned to the store. I understand that these were not felt to be of sufficent local interest being by Brighton artists!

I have photographed above the two silhouettes accepted by Mrs. McKechnie as being by Mr. Neville. The photograph of the one is bluer than it should be I am afraid. I have also photographed some detail of each over the page - this is to illustrate the artist's 'treatment' of the frill and his use of paint to get his effects. Few examples of Mr. Neville's work seem to appear in collections - although it is always possible that we do not know enough about his style to make an attribution. However, since seeing the Hove Museum Collection I have attributed one of my silhouettes to Neville, which I have also illustrated over the page somewhat enlarged.

The two Hove silhouettes would appear to be painted on card. There is a pleasant use of colour in the one - alhtough the painting is not particularily skilled in my view, but the effect is generally attractive. The woman

/over

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in the rectangular frame has an inscription at the back, which is handwritten "Taken by J. Neville, 4, Pool Lane, Brighton." It is written on what appears to be roughish card and in a rather 'amateur' handwriting. It is not likely to be written on the back of the silhouette itself because of the condition of the card on which it is written. Understandably the Museum Staff were not prepared for me to investigate further! The second silhouette has no obvious attribution - but I understand it was given by Mrs. N. Jackson to the Museum as a Neville together with it's companion. Both were accepted by Mrs. McKechnie as being by Mr. Neville.

Since seeing these two Neville silhouettes Andrew Ransford,a member of the Club, has acquired a silhouette of a man with an unrecorded label of Neville. This label is on a separate piece of card behind the silhouette. I have photographed both the silhouette and the label on the next page.This is the first recorded silhouette of a man by Mr. Neville. As you will see the painting of this man is very different from the painting of the two women. The painting is 'crisper' and dare I say 'slicker' in many ways. There is of course a possibility that the label does not relate to the silhouette, but I think this is unlikely. Much gold has been used on this silhouette with very limited use of gum arabic to highlight the collar. The label is somewhat amusing in that it states -.."taken at the Royal Profile Rooms, Brighton ..." - an address unknown to date. Perhaps Mr. Neville named the venue himself to add to his status!

Frames in which Neville's silhouettes are varied - but I should think his work is most likely to be in

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a papier-mache frame. It is possible that he did not frame his silhouettes at the point of sale - yet how did he 'attach' the separate label? From the above and from Mrs. McKechnie's article on Neville on page 433 can we find a distinctive style that will enable collectors' to recognise a Neville in the future? I think not at this stage unfortunately - but it does provide I think some pointers and possibilities for 'development' in the future when and if other examples become available. There are obvious similarities in my example and the "labelled" example in the Hove Museum. There is evidence that Neville used gold discreetly on woman and more lavishly on men. He also used colour on women and chinese white. Finally he uses some gum arabic on both men and women. It is true that Andrew's man is very different in style from the women including the elderly woman by Neville illustrated in Mrs. McKechnie (no 902) but it is not unknown for men to be painted in a more 'solid' style to women by the same artist - e.g. G. Atkinson, particular (see illustration in Mrs. McKechnie no.673.)

It would be of interest to hear from any of you who have authenticated silhouettes by Mr. Neville - preferably with a photograph and a description of the painting. Also, it would be nice to know if any of you are able to authenticate a Neville as a result of this contribution.