Harraden, Richard Bankes (SCC Newsletter February 1998)

RICHARD B. HARRADEN 1778-1862.

How to recognise and frame.

In my June, 1995 Newsletter I did a Note on Mr.Harraden's work on ivory - which updated Mrs. McKechnie's entry on this artist. Nov. I thought it would be useful to say a little more about this artist - particularly in view of the fact that 4 unrecognised works by him appeared in Phillips Sale on 11.11.97. (There was actually a fifth work in the Sale but this was not visible as it was found backing a silhouette by Mrs.Beechaml)

All works that have so far come to light that can be attributed to Harraden are of academics in their gowns. He is thought to have painted these during a period of his life when no was making a special study of costume worn by University academics. The work was 'Costume of the various orders in the University of Cambridge' (published Cambridge 1805.) This may well be the case, but it is a little difficult to accept that a young man of 24 would have embarked on such a work! Thereby arises another problem -Mr. Harraden's father was also an artist and one of some standing. He was also called Richard and his dates were 1756 - 1838. He did architectural drawings & paintings. He was also a miniaturist and in recorded in Daphne Foskett's book 'Miniatures - Dictionary & Guide'.1t has been suggested that the son might have done engravings from his father's work. Perhaps they also combined on the costume book! Mrs. McKechnie takes the view that Mr. Harraden Snr. was probably too skilled to do silhouettes - perhaps she is right. I think we may never be able to be sure - but at least we can learn to recognise a Harraden - even if we do not know it was by the father of the son!

Hrs.McKechnie's entry on Mr.Harraden is in 2 sections - Section Two (painted) p.412-413 plus illus.826 & 827 - and Section Seven (with colour) p.744 plus illus-l612 & 1613. There should be a further entry in Section Five (on ivory) Harraden produced a printed label(see Mrs. McKechnie p. 405 illue.830), but whilst I have come across about 15 Harradens during my collecting years I have not seen the 'sniff' of a label on any of those. Also I have only seen one signed example - this was in the Collection of the Victoria & Albert Museum and was signed dated 1802.

HARRADEN CONT’D.

re.His Work. This has two distinctive features - firstly the way he paints the folds of the stock and the ruffles of the shirt frills - secondly the treatment of the hair. The latter is painted with a very fine brush and in some detail. Water colour is used and possibly indian ink to emphasise details of clothing. All these features can be seen clearly in the enlarged photograph on the right. I have only seen gum

arabic used in his ivory works for details of clothing - but Mrs. McKechnie took the view that he also used gum arabic for his works on card. The base colour varies - this can be black as in the case of the gent on the right or it can be a greyish brown. The quality of painting is high so it is not surprising to know that both Harradens had other artistic skills.

There is no significant bust-line termination - this clearly varied. Having said this most of the Harradens I have seen so far do not have a termination. However Mrs. McKechnie on p.752 illus.1613 shows an example with the more usual convex concave bust-line termination. She mentions that this silhouette was put in an atypical frame to match others framed by different artists - it is also possible that Harraden matched his bust-line termination for the same reasons. I do not know whether Mr. Harraden painted women - unlikely I think. If one was to come to light - without a label or a signature I think it would be difficult to recognise. The treatment of hair might provide a clue - also the careful style of painting.

The two silhouettes I have illustrated below are not by Harraden but in mv view might be mistaken for his work. These are of two clergymen - water colour has been used and the 'effect' in many ways is not dissimilar. There is no bust-line termination that is meant to be shown. However, the application of paint is clumsier and the detail not so fine - although the hair detail is quite fine. I think these works are by Mr.George A.Crowhurst but I am not absolutely sure. Mr. Crowhurst is a Brighton artist/who usually did full-length works but bust-line examples like these, have been found with other works by him in Brighton Museum.

HARRANDEN CONT’D

If it is correct that Harraden's silhouettes were painted in connection with his book on academic costume - then it is possible that after the publication was completed he gave the silhouettes to his sitters un-framed, perhaps in return for their co-operation. It is also possible that he did other silhouettes of academics that were not used for his book, but came about as a result of the publication of the book. It may have been at this stage of his career that he printed a label and acquired a supply of suitable frames!

Mr. Harraden was working at the time when papier mache frames were becoming more popular but pearwood frames were also around. In my view his works do not sit well in pearwood frames - the 'aperture' tends to be too large so that the bust-line termination has to be shown with space below it in the frame. This does not look well. Whereas with the papier mache the bust-line can be made to go down to the base of the frame, where I think it is meant to be.

I illustrate above two of the silhouettes from the first page of this article which have been fitted into papier mache frames - previously one was in a pearwood frame and the other had been used for backing. The latter had been cut down more than I would have wished - but not drastically fortunately! (I am still waiting for a frame for the third gent but he has been badly cut so the task to find a 'fit' is proving harder than I had hoped.) I hope you will agree that the presentation of these two works is suitable. Obviously if any of you had a Harraden with another type of bust-line termination you might consider a pearwood frame provided the card had not been cut-back too much. No doubt we all have views about 'meddling' with the works in our collections - we are perhaps due for an article on this subject - with particular reference to 'getting into frames' and how much 'cleaning-up' should be done. Re-framing more appropriately seems a legitimate task to me.