Borough in Prints history of the prints

The Borough in Prints explores the hidden treasure that is the Richmond upon Thames Local Studies Library and Archive's print collection. This collection contains around 3,000 prints, drawings and watercolours that document the history and development of the borough.

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Local Studies

All the prints, watercolours and drawings are available to view at the Richmond upon Thames Local Studies Collection, based in the Old Town Hall, Richmond. Local Studies provides the public with access to a wealth of material relating to the history of the London Borough of Richmond upon Thames.

For this project, the prints were selected and researched by members of the Local Studies Volunteer Support Group who support the day-to-day running of the centre and undertake special local history projects.

Whitton, Villa Godfried Kneller

Jan Kip, c.1715

'Bird's eye view' print by Jan Kip showing Godfrey Kneller's house and estate at Whitton (now Kneller Hall).

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History

German-born Godfrey Kneller (1646-1723) was the most successful portrait painter in early eighteenth century London, particularly famous for his Kit Kat Club paintings (circa 1703-1717).

This print of Kneller's house at Whitton is by Jan Kip (1653-1722), a Dutch draughtsman and printer working in England, and was probably engraved after 1715, when the painter became a baronet. It is what is known as a 'bird's eye view' print which enables all aspects of the estate to be seen at once and properties to be more easily compared. The Latin motto at the bottom of the print is from Virgil's First Eclogue. Kip and his partner Leonard Knyff produced volumes of similar engravings of royal and gentlemen's estates such as Britannia Illustrata (1707). The present engraving however appears to be one of only two in existence, the other being held by the Bodleian Library in Oxford, so presumably the engraving was intended for distribution amongst Kneller's friends rather than sold commercially.

Kneller lived in a grander style than most painters of his time, reflecting his status as a painter to royalty and the establishment. He became a Justice of the Peace, Deputy Lord Lieutenant of Middlesex and Gentleman of the Privy Chambers to William III, Queen Anne and George I. Kneller had a large town house in London and a magnificent art collection of his own including paintings by Rubens and Van Dyck.

Looking for a summer estate he found a large 17th century house, Whitton Hall, on the edge of Hounslow Heath, which he purchased and replaced with a new building, shown in the print, constructed between 1709 and 1711. Certain details of the design – concave domed cupolas - indicate that Sir Christopher Wren may have been involved. (Kneller painted Wren four times). The engraving shows Kneller's coach and six horses. He would often travel in this coach across Hounslow Heath and in October 1718 he was attacked by highwaymen and robbed of some £20 and a gold watch.

The house was stately, with decorations by Louis Laguerre, godson to Louis XIV, a French painter and designer who worked mainly in England in houses such as Chatsworth and Blenheim Palace. The house saw visits to Kneller by many famous people of the day, including members of the royal family and also Alexander Pope, who was a close friend.  

After Kneller's death Whitton Hall was renamed Kneller Hall by his widow. In 1847 the building became a teacher training college and was completely rebuilt again. In 1857 the Royal Military School of Music moved in and remains in the Hall to this day. It was reputed that when Pope was sitting at Kneller's bedside during his final illness he told Kneller that he had been a very good man and would therefore be certain to go to a better place. 'I wish God would let me stay at Whitton' replied Kneller.

A View from Richmond Hill Down the River

Antonio Joli, 1749

Engraving drawn by Antonio Joli, engraved by Francois Vivares, showing the view from Richmond Hill and surrounding buildings.

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History

This print was engraved by Francois Vivares (1700-1777) after a work by the painter Antonio Joli. Vivares was born in Jean-de-Bruel near Montpellier and apprenticed as a tailor before moving to London at the age of 18 to study under the French engraver and draughtsman Jean-Baptiste-Claude Chatelain. Vivares spent the rest of his life in London, becoming one of the most renowned landscape engravers of his time. He was regarded as one of the founders of the school of landscape-engraving, which produced distinguished members such as William Woollett. Vivares produced around 160 plates during his career, many of which, like this one, were published by Boydell. His most important pictures were often after old masters but many, like The View from Richmond Hill Down the River, depicted views of English scenery after artists such as Thomas Gainsborough.

This particular image, showing to the now famous view from Richmond Hill, was engraved after the artist Antonio Joli (1700-1777), an Italian painter and painter of stage sets. Joli was born in Modena and lived much of his life in Venice. He travelled to London between 1744- 1748, during which time he decorated the Richmond mansion of John James Heidegger, the then director of the King’s Theatre in Haymarket. Joli painted several views of Richmond Hill and The Richmond upon Thames Borough Art Collection holds an oil painging, A View from Richmond Hill Looking South West, attributed to the school of Joli, which shows a very similar scene and composition to the print.

The view from Richmond Hill has long been and continues to be a source of  artistic inspiration, and has been painted by renowned artists such Sir Joshua Reynolds and J. M. W. Turner. By the middle of the eighteenth century, the view from Richmond Hill had become regarded as somewhat of a personal asset to those who lived there, and steps were taken to protect it. In 1896, the Trustees of the Earl of Dysart leased Petersham Meadows to the Richmond Corporation with the object of preserving the view from the Terrace at the top of the hill. The Richmond, Petersham and Ham Open Spaces Act of 1902 preserved the view by act of Parliament, and, today, it can be considered both a local and national asset.

A View of the Mosque, Pagoda and Alhambra in Kew Gardens

Artist unknown, c.1750

Print showing the Royal Botanical Gardens at Kew (bottom image), including the Mosque, Pagoda and Alhambra.

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History

The lower image of this print shows three buildings situated in the Royal Botanic Gardens at Kew, of which today only the Pagoda remains. The buildings were all designed by William Chambers (1723 - 1796) who was an architectural tutor to the future George III and later, when George became king, became his unofficial architect. Chambers also worked for George’s mother, Augusta Princess of Wales in her development of the botanical gardens.

Chambers, born in Gothenburg to a Scottish father, was educated in England but later returned to Sweden. During his career he travelled to China three times to study its architecture and decoration as well as studying for a number of years in Paris and Rome before settling his architectural practice in London.

He was a founding member of the Royal Academy and is buried in the south transept of Westminster Abbey along side other renowned architects Robert Adams and James Wyatt. He was a prolific architect in his lifetime, designing a number of well known buildings such as Somerset House in London. Locally, he designed part of Osterley Park, Teddington Grove which was demolished after the First World War, and Wick House, which was commissioned by Sir Joshua Reynolds. This was completed in 1772 and still stands at the junction of Nightingale Lane and Richmond Hill. He also designed the gilded state coach that is still used by the monarchy today.

The exotic gardens at Kew were started by Lord Capel and were extended and developed by Augusta, Princess of Wales. The three buildings that are the subject of this print were erected in a period of six years from 1757 - 1763. The idea was to reflect architecture from around the world, the Chinese influenced Pagoda (1761-2), the Turkish Mosque (1761) and the Spanish Moorish Alhambra (or palace), (1758).

Chambers also designed the Orangery, the Temple of Bellona, the Temple of Aeolus and the 'ruined arch' which can still be seen in Kew Gardens. Other buildings or follies were erected but later demolished including the Temple of Pan (1758), the Temple of Arethusa (1758), the Garden Seat (1758), the House of Confucius (1749) and the Gallery of Antiquities (1757).

The Pagoda is 163 feet tall and consists of ten stories, each 1 foot less in diameter and height than the preceding one. There is one key difference to this building and the Chinese style that it is modelled on in that there should be an odd number of floors. The building was originally very colourful with varnished iron plated roofs and golden dragons on each corner. Made of wood these have rotted away and not been replaced. The Pagoda is a grade 1 listed building and a key landmark for Kew.

A View of Governor Pitt's House at Twickenham

John Boydell, 1753

Print by John Boydell showing a view of Governor Pitt's House (now known as Orleans House) from across the river.

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History

This print, drawn and engraved by John Boydell (1719-1804), shows Governor Pitt's house (better known as Orleans House) which stood on the banks of the Thames between Twickenham and Richmond, very close to Marble Hill House and park. The house was built in 1710 by James Johnston, and had many famous and influential people live there, including Louis Philippe, Duc d'Orleans (King of the French from 1830-1848), Governor Pitt (MP for Pontefract), and William Cunard the shipping magnate.

The Octagon Room, shown to the left of the main house, was built in 1720 at the request of its first owner James Johnston by the architect and fellow Scot, James Gibb. It is the jewel in the crown of this gallery complex. He constructed the attractive octagonal exterior in red brick and Portland stone. The internal space is very much Baroque in style and the domed octagonal ceiling, covered in gilded leaves, scrolls and flowers is an impressive focal point in the room, which has a gold, cream and pale blue decor.

Sadly, in 1926, the main house was demolished and only the Octagon Room, two adjacent wings and an extensive stableblock remained. Fortunately, these buildings were bought in 1927 by the Honourable Mrs Nelly Levy and her philanthropic motives ensured that the buildings were preserved. She married architect Basil Ionides in 1930 and lived at Riverside House which is adjacent to Orleans House. £10,000 was needed by the Twickenham Corporation to buy Orleans Gardens and Mrs Ionides contributed £2,500 to this endeavour. In 1956, she announced that she would bequeath the property and her painting collection to Twickenham Corporation, on the condition that Orleans House should be used solely as a public art gallery. After her death on 14 November 1962 these generous bequests were passed to Twickenham Borough Council. Orleans Gallery was opened in 1972 and since then has been the venue for a wide range of exhibitions and cultural events.

A View of the Bridge over the Thames at Hampton Court

Augustin Heckel, c.1754

Print by Augustin Heckel, engraved by Charles Grignion The Elder, showing a view of Hampton Court Bridge.

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History

The artist, Augustin Heckel (1690-1770), was born in Augsburg, Germany but died in Richmond, where he had retired in 1746. He was born to a family of goldsmiths and was himself an engraver, artist and draughtsman. He also produced two books of watercolours of flower designs as well as paintings of other landmarks in the Richmond and Twickenham areas.

Heckel’s image of Hampton Court Bridge, was engraved by Charles Grignion The Elder. Grignion was born in London to Huguenot refugees and became a prolific engraver and book illustrator. In addition to this work, he also engraved Heckel’s ‘A West View of Richmond in Surry from the Star and Garter on the Hill’ in 1752 for which both are probably better known. The engraving was printed by John Bowles who was part of a family of printers and map-sellers and was the son of Thomas Bowles from whom he and his brother took over the business in 1721. They specialized in the printing of views in London and surrounding areas.

The image shows what was the first Hampton Court Bridge, completed not long before this painting in December 1753. It was built from wood and was soon replaced in 1778 by a more sturdy structure. This itself became dilapidated and was replaced in 1865 by a third bridge on the same site and constructed from wrought iron. A fourth bridge, which still stands today, was opened in 1933. It is a reinforced concrete structure with 3 wide arches.

A View of the Canal and of the Gothick Tower in the garden of His Grace the Duke of Argyle at Whitton

William Woollett, 1757

Engraving by William Woollett showing the Gothic Tower in the Third Duke of Argyll's estate at Whitton Park.

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History

This engraving, by William Woollett, shows the Third Duke of Argyll, in the forefront of the print and wearing an apron, showing visitors around his estate, Whitton Park. In the centre a canal, bordered by trees, leads to a Gothic tower in the distance. William Woollett was a famous English engraver operating in the eighteenth century and in 1775 was appointed engraver in ordinary to George III. He was particularly renowned for his depiction of water.

Archibald Hamilton, the Third Duke of Argyll (1682-1761) was the Crown's political manager in Scotland in the years following the Act of Union, also sitting in the House of Lords as a Scottish peer and was a founder of the Royal Bank of Scotland.  He had a great interest in horticulture and science and could be said to be one of the fathers of the Scottish Enlightenment.

The Duke created an estate at Whitton Park from 1724 out of wasteland on Hounslow Heath and had his new garden planted out even before he began building his house there, which he called Whitton Place. The Duke explained to Pehr Kalm, a famous Swedish explorer, botanist and naturalist in May1748 that he had decided to prepare soil and plant trees first because 'Nature must have its time'. The house could wait because 'I can always build the most handsome castle in one year'. The house, when it was finally built, was indeed fine with a contemporary account describing it as containing a 'Chinese Pagoda of Mother of Pearl of exquisite Workmanship' and a long gallery 'in which are all the Instruments the Duke uses in his Mechanical and Chymical Experiments'.

His particular horticultural interest was in trees many of which he had imported from abroad, especially America, and introduced into this country. His pride and joy were some Cedars of Lebanon. Horace Walpole, a friend, described him affectionately as a 'tree monger' and he always welcomed with enthusiasm any visitors to his estate and often showed them round personally, as in the print.

On his death The Duke’s nephew, the Earl of Bute, a close friend of Princess Augusta, Dowager Princess of Wales, who was instrumental in founding the Botanic Gardens at Kew, arranged for Argyll's choicest tree specimens to be moved to the Gardens, to be looked after by Kew's distinguished head gardener and director William Aiton. The oriental plane tree (Piatanus orientalis) located today next to the Orangery in the Gardens is thought to be a tree brought from the Duke's estate.

The Gothic tower, shown in the background, contained two rooms, one over the other, and was used by the Duke as an observatory for his astronomical studies. It had a fine prospect and was still standing until the early part of the twentieth century. Parts of Whitton Park remain today as the municipal Murray Park although much of the original estate has been built over for housing.

Strawberry Hill, South View

Joseph Farrington, c.1773

Engraving drawn by Joseph Farrington, engraved by Joseph Stadler showing Horace Walpole's estate at Strawberry Hill.

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History

Joseph Farrington, a landscape painter and diarist, was born in Leigh, Lancashire on 21 November 1747 and was a founder member of the Royal Academy. Farrington kept an almost daily diary from 1793 until his death in 1921. This has proved valuable to historians, particularly in relation to the London art scene in those years. A 16 volume edition of his diaries was published in the 1920s and again in 1978-1984. He married Susan Ann Hammond, a relative of Horace Walpole, the man who built Strawberry Hill House, shown in this print.

John Boydell was the publisher. He was born in Shropshire in 1720. Recognising his own artistic limitations he set up a publishing company in 1746, buying and publishing the work of others.  His nephew, Josiah joined the company. Boydell established a trade in prints with France and largely due to the efforts of J & J Boydell, by the 1770s, Britain was exporting more prints than it imported. The success also raised the fees of engravers throughout London. In 1790 Boydell was elected Lord Mayor of London. The last two decades of his life (he died in 1804) were dedicated to his Shakespeare Project which would lead him to near bankruptcy. This involved the production of an illustrated edition of Shakespeare’s plays, a public gallery of the paintings showing scenes by a variety of artists, and a folio of prints based on the paintings

The site of Strawberry Hill House, as it became known, was acquired by Horace Walpole the son of Britain’s first Prime Minister, Sir Robert Walpole. In 1749 he began the first of several stages to develop it. He chose a gothic revival style that became known as 'Strawberry Hill Gothic' This was very different from the fashionable style of the time and contrasts with nearby Marble Hill House.

The House was used to accommodate Walpole’s vast collection of art, antiquities and curiosities from ancient and modern times. The gardens of the House were also of great importance to Walpole and work started on these first. Again Walpole chose to go against the style of the time, rather than formal gardens he preferred to use trees and shrubs in natural groupings in the lawned areas.

As now, many visitors were drawn to the House and gardens and tickets were issued (children were not allowed). Walpole would show the more important visitors around the house, leaving the rest to the Housekeeper.

On his death the House passed to his first cousin and later to the Waldergrave family under whom the fortunes of the House varied. In 1842 a 'Great Sale' lasting 30 days was held in which Walpole’s vast collection was sold. In 1856 Lady Waldergrave undertook further major works to the House. In 1923 the House was brought by the now named St Mary’s University Twickenham which in recent years leased it to the Strawberry Hill Trust who undertook major works of repair and restoration.

The East View of Mortlake

Artist unknown, 1785

Print showing a view from the river, looking towards Mortlake, including St Mary the Virgin Church in the centre.

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History

The print shows the view from what is now The Terrace looking towards Mortlake. The prominent building in the centre of the print is the present day Church of St Mary the Virgin, Mortlake.  This stretch of the river is sometimes called St Mary's Reach after the church.

The print shows an idyllic rural view of the Mortlake riverside in 1785, but at the time that the print was made there was a pottery operating close to the church. The pottery was owned by John Sanders of Lambeth, who decided to expand his business in the 1740s or 50s and acquired a disused sugar house on the north side of the High Street, near the church. Industry in the area expanded in 1797 when Joseph Kishere, who learnt his trade at Sanders’ pottery, leased a property almost opposite Sanders’ and built a bottle kiln. He was in production by the end of the year.  The two potteries appear to have traded alongside each other quite happily.  John Sanders died in 1758, as did his son William in 1784 and grandson John in 1794. The Sanders Pottery closed in the 1820s and production transferred to the Vauxhall site.  Joseph Kishere died in 1834 and was succeeded by his son William. After William's death in 1843 their pottery also closed.

In the early 1900s an electric generating station was built near St. Mary’s church which produced the cheapest electricity in the country for some years. A wharf was built for the delivery of coal and two cranes were used for unloading. After the station closed, the wharf was made into a small park now called Jubilee Gardens and the crane tracks are under the grass.

Their Majesties Walking in Kew Gardens

Artist unknown, 1787

Print showing King George III and his wife, Queen Charlotte, walking in the Royal Botanical Gardens at Kew.

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History

The print shows George III and his wife Queen Charlotte in Kew Gardens accompanied by an unnamed couple. The King had a long association with Kew.

George III’s grandfather, George II and his wife Queen Caroline of Ansbach, were first attracted to Kew Palace in 1729 (then known as the Dutch House and built in the 1630s).  It was used as a residence for their daughters whilst the King and Queen lived in Richmond Lodge at the southern edge of Kew Gardens.

George III’s father, Frederick Prince of Wales built a larger house opposite Kew Palace, which became known as the White House. George, born in 1738, spent some of his childhood at the White House, having lessons in Kew Palace. When his father, died and he became heir to the throne he was allowed to continue living with his mother at Kew. The exotic gardens at Kew Park had been started by Lord Capel. George’s mother, Augusta Princess of Wales developed and extended the gardens working with William Chambers as her architect.  The Royal Botanic Gardens were formed in 1759.

George inherited the White House on Augusta’s death in 1772 and purchased Kew Palace in 1781 for use as a nursery for the growing number of royal children.  He continued the work of developing the gardens. George (known as “Farmer George”) and his family used Kew as a country retreat, holding picnics, playing cricket and visiting the growing menagerie of animals, including kangaroos.

From 1776 Windsor Castle was more popular with the King and Kew was used less.  The White House fell into a poor state of repair and its demolition began in 1802. All that remains today is a sun dial marking the site of the house. George III and his architect, James Wyatt had plans for a third palace, a gothic castellated palace and work began.  It was not well received publicly, regarded as being too “silly” for a King, showing bad taste and defective judgment.  It was never finished and in 1828 Parliament, having looked at the accounts, ordered the shell of the building to be demolished.

The King suffered poor health including periods of mental instability possibly due to a condition known as porhphyria. This happened on three occasions in 1788, 1801 and 1804 when he was removed to Kew to recover, which may explain why Kew grew out of favour with the King. The last time he visited Kew was in 1806 when he stopped over to dine. His wife, Queen Charlotte was taken ill on a visit to Kew in 1818 and stayed several months before she died in the November, lying in state in the Dining Room before being laid to rest at Windsor.

Kew Gardens, as it is known today was founded in 1840.

The Late Mr. Garrick's Villa

Joseph Farrington, 1793

Engraving drawn by Joseph Farrington, engraved by Joseph Stadler showing Garrick's Villa and Temple to Shakespeare.

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History

Early records show that the site of Garrick’s Villa was acquired by Richard Caswell in the 1640s. He and then his heirs extended and adapted the plot over subsequent years. The house became known as Hampton House.  

In 1755 David Garrick, one of the greatest actors of all time, also a dramatist and theatre manager acquired the property. He made extensive internal alterations and commissioned Robert Adam to redesign the façade and portico in the classical style popular at that time. Capability Brown advised on the layout of the grounds. An elaborate tunnel was constructed under the road that separated the house from the riverside lawn. This included a grotto arch with a bath house consisting of three rooms at the western end.

David Garrick wanted a temple dedicated to Shakespeare where he could “dine, sup and entertain friends”. In 1756 he commissioned Louis Francoise Roubiliac to produce a statue of Shakespeare. The Temple, seen in the engraving, was built and the statue installed in it.

Garrick died in 1779 and the property fell into disrepair. On his wife’s death the Shakespeare statue passed to the British Museum where it still remains. Thomas Carr brought the house and carried out the work necessary to restore the house and grounds. He renamed the house 'Garrick’s Villa'.

Further works, including a new western wing in 1865, were undertaken by subsequent owners. By the turn of the century public use of the grounds was permitted with flower shows and celebrations for the Golden and Diamond Jubilees of Queen Victoria.

In 1902 the London United Tramway Company brought the property with the intention of demolishing it to enable trams to operate along the road. Instead the General Manager, J. Clifton Robinson decided to live there. The boundary was realigned to make way for the road widening and a siding constructed to enable his private tram to run from his home. Enormous garden parties for up to 2,000 of the employees of the company were held at the property. The Robinson family left in May 1910. It was commandeered by the army from 1914 to 1918 and, in 1922 the Local Authority gave permission for its conversion into eight flats.

In 1923 the Temple and lawn were sold to Paul Glaize, who built a house adjoining the Temple. This was so incongruous that in 1932 Hampton Council brought and demolished the house and returned the lawn to public use. In the 1960s it was sold for development and the Temple again fell into disrepair. In 1977 Richmond Council restored the Temple but by the late 1990s it was once again in a poor condition. Lottery funding and money from local groups enabled the Temple and surrounding landscaped lawns to be restored. A replica of the statue of Shakespeare was provided by the British Museum.

Garrick Villa itself was badly damaged by fire in 2008 and has since been restored.

The Lass of Richmond Hill

John Fairburn, 1794

Print published by John Fairburn showing 'The Lass of Richmond Hill' inscribed with the words of the poem of the same name.

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History

'The Lass of Richmond Hill', which is inscribed beneath this print, was a popular eighteenth century song that was first performed in 1789 to music by James Hook, and now gives its name to the pub on Richmond Hill. There is some debate, however, as to whether the song refers to a ‘lass’ of Richmond, Surrey or Richmond, North Yorkshire. It is generally accepted that the song was composed by Leonard McNally (1752-1820) in honour of Frances L’Anson, who was born in Wensleydale, Yorkshire and was associated with Hill House, Richmond. It was said that McNally, wrote the poem as part of a campaign to persuade her to marry him against her family’s wishes, of which he was successful as they were wed in 1767.

The music of ‘The Lass of Richmond Hill’ is sometimes attributed to the Prince of Wales who later became George IV. It was said that the song was written about Maria Fitzherbert, who the Prince met in 1784 when he was aged 22. He fell deeply in love with her although she was six years his senior and twice widowed. A celebrated beauty, she lived since 1782 at Richmond, Surrey whilst also owning a house in London. The Prince and Mrs. Fitzherbert were married in a private ceremony, however, they did not have the King’s consent which was prevented by her Catholicism and the marriage was not legal. The couple could not live openly together. In 1794 he was constrained to deny Ms. Fitzherbert and marry his cousin, Caroline of Brunswick. Following the Prince and Caroline’s separation, in 1800 the prince sought out Ms. Fitzherbert and they were together for another 9 years until, in 1809 when she broke off the affair.

North West View of Mortlake Church (Mortlake and Kew Churches)

James Basire, late eighteenth century

Print by James Basire, showing view of present-day St. Mary the Virgin Church, Mortlake, including architectural details and memorial from St. Anne's Church, Kew.

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History

This print, dedicated to William Pembroke of Mortlake, shows the North-West View of Mortlake Church from around 1785, as well as a number of architectural details. This is the present-day church of St. Mary the Virgin, Mortlake which replaced a previous mediaeval church dating from 1348 which was attached to the Manor of Mortlake and owned by the See of Canterbury.  In 1536 Thomas Cranmer transferred ownership of the Church and Manor to Henry Vlll, who in turn gave it to Thomas Cromwell.  After Cromwell's execution in 1540 it reverted to Henry who ordered it be demolished as it was ‘in the way’ – although what it was in the way of is unclear. The new church was built on the present site and dates from 1543. The only remaining part of the Tudor church is the tower which was built using bricks from the previous church.

The font, which is shown on the top, right-hand side of the print dates from 1465.It is octagonal with a lead lining and can still be found in the church today. The badges shown on the print represent the emblems set in each face of the font each of which represent the arms of the donor, Archbishop Bouchier, and the see of Canterbury.

The memorial shown in the middle of the print is situated in St. Anne’s Church, Kew. It is 10 feet tall and made of white marble. It is dedicated to the memory of Lady Capel, the Dowager Baroness Tewkesbury who lived and died in Kew. She was a supporter of the Mortlake Charity School for Boys during her lifetime and when she died it was one of the beneficiaries of her will. At the time the print was made there was no memorial to her in Mortlake Church but presumably the creator thought it appropriate that she should be remembered.  In 1814 a wall plaque to her memory was erected in Mortlake that is still there today.

Over the years the the church had a number of additions and alterations as the population grew. It was enlarged in 1816-7 and again in 1840 and the nave and south aisle were reconstructed in 1905/6 by Sir Arthur Blomfield. The tower has eight bells which were rung to celebrate the birth of the future Edward Vlll at White Lodge in 1894. There are a number of memorials to prominent parishioners on the walls.  John Dee, the noted Elizabethan scholar, whom Elizabeth l visited on a number of occasions, lived next door to the church and is buried in the chancel.

St. Peter's Church, Petersham

Artist unknown, c.1807

Print showing St. Peter's Church situated near the South East corner of Petersham Meadows, Petersham.

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History

This black and white print (c.1807) is of St Peter’s Church which stands at the South East corner of Petersham Meadows. A church has stood here since at least the time of the Domesday Survey of 1085 when it is shown as belonging to Chertsey Abbey. Nothing remains now of the original fabric, although there is a blocked lancet window in the North wall of the chancel which is twelfth or thirteenth century. The church was rebuilt in 1505, it was very small but had a tower at the West end. By 1635 the tower had a spire and some transepts were added. The North transept was enlarged later, either in the late 17th or early 18th century, and by this time the upper part of the tower had acquired its present shape with the cupola replacing the spire by 1720.

Despite the urgings of the curate, Mr Bellamy, in the 1770s or 1780s that the church should be enlarged or entirely rebuilt, nothing (luckily) was done until 1840 when the South transept was considerably enlarged, new galleries were built and other changes made which almost doubled the seating. The old box pews and galleries of 1840 are still there today and the interior of the church is little changed apart from the installation of an organ. The pulpit dates from 1796 and was made by John Long a local carpenter.

There are a number of monuments inside the church, in particular the lavish Cole monument of 1624 to the Lord of the Manor, George Cole, his wife Frances and his grandson, also George, who died aged 4 just before his grandfather. Many of the Dysart family (owners of Ham House) including Elizabeth, Duchess of Lauderdale, who died in 1698, are buried within the chancel.

Among those buried in the graveyard is Captain George Vancouver (1758-1798). He spent the last two years of his life in Glen Cottage in River Lane, Petersham. He surveyed the west coast of North America, including what became British Columbia, and he also sailed with Captain Cook to Antarctica and was with him on his last fatal voyage to the Pacific. An annual service of commemoration for Captain Vancouver is held each May at his tombstone in the graveyard.

Also buried in the graveyard are the great-grandchildren of William Penn the founder of Pennsylvania; and Captain Paul Amedee Francis Coutts Stuart, son of Princess Christine Alexandrine Egypta, daughter of Lucien Bonaparte. This memorial was erected by Prince Louis-Lucien the only surviving son of Lucien Bonaparte. Sir John Whittaker Ellis is also buried here.  He was Lord Mayor of London in 1881-2, first Mayor of Richmond in 1890-91, and a Member of Parliament from 1884 to 1892.

There is a large Tollemache family tomb, a name associated with the parish for about three hundred years.

Parish Church of St. Mary's, Barnes

Artist unknown, c.1810

Watercolour showing the St. Mary's Parish Church and part of the cemetery, Barnes.

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History

Little is known about this watercolour, including the name of the artist, which shows a view of St. Mary’s Parish Church in Barnes from around 1810. There has been a church on the site of St. Mary’s since the twelfth century and it is said that, in 1215, the newly enlarged church was consecrated by Simon Langton, Archbishop of Canterbury. According to tradition the Archbishop stopped at St. Mary’s on his way back from the Magna Carta gathering at Runnymede in order to consecrate the church. The church tower probably dates from the latter half of the fifteenth century.

In 1777 the Hoare Chapel, which can be seen in the watercolour, was added which resulted in the removal of the north wall where the chapel was erected and a burial vault added. The Hoare family were influential parishioners and patrons of the church. Hoare himself was the great grandson of the founder of Hoares Bank. The burial vault is now situated under the nave.

The church was enlarged in the Victorian era and then again in the early twentieth century. On 8 June 1978 fire struck the church and it was badly damaged but, luckily, the tower and the thirteenth century Norman chapel survived. The fire allowed for an archaeological survey to be completed. During the investigation, fragments of mediaeval wall paintings were found on some of what were the original nave including flowers and the painted outlines of masonry blocks. Following the fire, the church was rebuilt to a slightly different design and was re-hallowed on 26 February 1984.

Sandycombe Lodge, Twickenham

William Havell, 1814

Engraving drawn by William Havell, engraved by W. B. Cook showing a view of Sandycombe Lodge in Twickenham, villa of artist J. M. W. Turner.

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History

The print shows the house of painter J.M.W. (Joseph Mallord William) Turner, who lived close to Richmond and Twickenham. He named the house Sandycombe Lodge and it still exists today, located close to St. Margaret's railway station and village. The print was made in 1814 by W. B. Cooke, who included it in his collection of prints 'Thames Scenery'. It is based on the watercolour by Turner’s friend, William Havell.

Although Turner had premises with his own gallery in Harley Street, central London, he was drawn to peaceful places near the Thames. After renting in places such as Isleworth and the Mall, Hammersmith, he acquired some land, about half a mile from Richmond Bridge and a little further from Twickenham, in May 1807. Turner knew and admired some well-known poets (Alexander Pope and James Thompson) who lived in the area and there were also some very grand houses along this stretch of the Thames, owned either by those in the arts or of the nobility.  This may have influenced him to build a house there. It would seem that he had a great deal of input into the design of the house, as he made many architectural drawings and sketches between 1810 and 1812.

Turner’s father William, who lived with Turner both in Twickenham and at his central London house, helped him by organising the household, doing the gardening and helping to prepare art materials, even into his 80's. Turner's friends, including other artists, visited him here and it is known that they went on picnics, fishing and boating trips. When he wanted to go on sketching trips, he could either take his gig and pony or use a boat to travel on the river.

Turner became acquainted with the Duc d'Orleans, later Louis Philippe, King of the French, (who lived for a time at what is now Orleans House, Twickenham) and met with him on occasions both in the U.K. and at the King's vast chateau at Eu, Picardy.

In 1826 Turner moved back to his house in Queen Anne Street with his elderly father, who died in 1829. Turner was devastated, as they had had a very close relationship. He sold Sandycombe Lodge later that year.

After many owners, the house became dilapidated but in 1947, Professor Livermore and his wife Ann rescued it and, after their deaths it was left as a gift to the nation. The Turner's House Trust has been set up to conserve the building, gather artefacts relating to Turner and allow the general public access to this Grade II* listed house. Grants, charitable donations and funding will enable this to happen and the restoration should be completed in 2016.

Richmond, Surrey

Francis Nicholson, 1821

Lithograph print by Francis Nicholson, printed by Charles Joseph Hullmendel showing a view from the river bank towards Richmond Bridge.

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History

This lithograph print was made by Francis Nicholson (1753-1844)  in 1821 and printed by Charles Joseph Hullmendel. A version of this print appeared under the series title ‘Lithographic impressions of sketches from nature’. Nicholson was born in Pickering, North Yorkshire and studied in Scarborough before beginning his career producing sporting pictures and portraits for a variety of local patrons. By the mid 1780’s he was making paintings of country houses and concentrated on landscapes in watercolours.

From 1789 he contributed views of Yorkshire and Scotland to exhibitions at the Royal Academy and supplied topographical views for the Copper Plate Magazine. He moved to London in about 1803 and in 1804 he became a founder member of the Society of Painters in Watercolours (now the Royal Watercolour Society).

He died in London and is buried in Brompton Cemetery. His self-portrait (c.1837) is in London’s National Portrait Gallery.

Hullmendel (1789-1850), who printed the image, was one of the most significant figures in the development of lithography in the early nineteenth century. In 1817 he met Alois Senefelder, the inventor of the lithograph process, in Munich and set up a lithograph press in Great Marlborough Street, London.

The print shows the Grade 1 listed Richmond bridge which was opened in 1776 as a replacement for the ferry crossing which could no longer cope with the increasing traffic. It is the eighth bridge to be built in what is now Greater London and is the oldest surviving and only Georgian Thames crossing in London.

The masonry bridge which is faced in Portland stone was designed by James Paine and Kenton Couse. It is 300ft. (91m) long, 24ft. 9” (7.54m) wide and supported by five elliptical arches of various heights. The tall and wide central span was designed to allow shipping to pass through. The total cost to build was approximately £26,000 (£2.88 million in 2015 prices). The Richmond Bridge Act 1772 stipulated that no tax of any sort could be used to finance it and fixed a scale of tolls, ranging from 1/2d for a pedestrian to 2s 6d for a coach drawn by six horses (about 50p and £14 today). These tolls were abolished in 1859 and the toll houses were demolished to be replaced by seating in 1868.

A large obelisk was erected in December 1777 on the Surrey side of the bridge (the Richmond end). This was a milestone which gave the distances to other bridges and local towns and is still there today.

The Star and Garter, from Richmond Hill

Artist unknown, c.1841

Watercolour wash showing the Star and Garter Inn, now destroyed, on the top of Richmond Hill.

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History

This watercolour print (c.1841) is of the Star & Garter Inn which was built at the top of Richmond Hill on land owned by the Lord of the Manor, the Earl of Dysart in the early 18th century. It was leased to John Christopher in 1738 and was probably named the Star & Garter in deference to the landowner who was a member of the Noble Order of the Garter. The inn was enlarged in the 1770s with the addition of another storey and a porticoed entrance.

In 1780 a large private house was added to the west side of the building which later became part of the enlarged hotel. It was further enlarged in 1803 which provided public rooms and an Assembly Room. This unfortunately proved an expensive extravagance and the hotel was closed and remained empty for five years during which time the proprieter, James Brewer, died in a debtors’ prison. In 1809 the hotel was restored. Around 1790 J M W Turner painted the view from Richmond Hill from the garden at the back of the Star & Garter.

In 1822 the lease was bought by Joseph Ellis and remained in the Ellis family for over 40 years. During this time the hotel was visited by foreign nobility such as Napoleon III and Empress Eugenie, and King Victor Emmanuel. King Louis Philippe of France stayed there for six months after his flight from Paris and was visited there by Queen Victoria and the King and Queen of the Netherlands. The Star & Garter was a favourite haunt of Charles Dickens and for 20 consecutive years he gave a dinner for friends to celebrate his wedding anniversary. In 1851 he celebrated the publication of 'David Copperfield' with a banquet.

The days of manager-owned hotels were coming to an end and Joseph’s son George Ellis sold the hotel on 1 January 1864. The new owners built their new hotel adjacent to the old in the style of a French renaissance chateau designed by E M Barry. This was described in a letter to the Times as “gross, pretentious, common, impudently obtrusive, it stood out, a great disfiguring wart or wen on the face of Richmond Hill”.

On 17 January 1870 the whole of the old building, with the exception of the coffee rooms, was destroyed by fire. A new hotel was built in 1874. In 1915, this new site was occupied by the ‘Royal Star and Garter Home’, a charity which, with the support of Queen Mary, provided care for the severely disabled young men returning from the battlegrounds of the First World War.

Richmond Theatre (exterior and interior view)

F. Cornman, 1832 and 1896

Two engravings by F. Cornman, showing an exterior view and interior view from the stage of the old Richmond Theatre.

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History

Little information has been found about the artist F. Cornman who produced these two engravings showing the old Richmond Theatre in 1832 and 1896.The interior engraving is dated 1896, after the theatre was demolished, opening up the possibility that it may have been produced using an earlier image.

The theatre, which opened on 15th July, 1765 with the comic opera 'Love in a Village', was known as the Theatre Royal and was situated on the southwest side of the Green (Old Palace Lane) on a site adjacent to what is now Garrick Close. When first opened, ticket prices were 4 shillings for boxes, 2 shillings and 6 pence for the pit 1 shilling for the gallery, this, today, is equivalent to £24, £15 and £6.

The interior design of the theatre caused widespread interest. The lobby was spacious and the unconventional dark panelling of the auditorium helped to focus attention on the lighted stage when the curtain was raised. There was a gallery and a large orchestra pit but most of the audience sat in boxes. Within a year of opening the stage was enlarged and other improvements made.  Gas lighting was installed in the first half of the 19th century.

King George III and Queen Charlotte became patrons of the Theatre Royal. On their first visit, around 1802, three boxes were formed into one for the reception of the royal family to see the performance Belle's Stratagem. Extra boxes were erected on the stage to accommodate the audience.

During the first thirty years or so of the theatre’s existence many famous actors of the time appeared there – including Mrs. Jordan, the elder Macready, Mrs. Baddeley, and Charles Dibdin.  In October 1807 Sarah Siddons played her celebrated role of Lady Randolph in the tragedy entitled 'Douglas'.

In 1831 Edmund Kean (a very famous and popular actor) took out a lease on the theatre and lived in the house next door. It had been his ambition for a long time to manage his own theatre company, however, he was past his prime, ill and frequently drunk. He died in Richmond on 15 May 1833 at the age of 48.

Perhaps the most prosperous time for the theatre was during the twelve to thirteen years from 1858 onwards. Plays produced included 'East Lynne' and 'Jeanie Deans'.

The last proprietor was John Russell, whose first season opened in July 1880. However, his productions were not particularly popular or successful. As a result attendances dropped, the building fell into disrepair and was demolished in 1884.

The current Richmond Theatre, which is on the Little Green, was designed by Frank Matcham, and opened in September 1899 with a performance of 'As You Like It'.

Teddington Weir, Middlesex

Anne Forster, 1881

Watercolour by Anne Forster showing Teddington Weir from the river bank, including people fishing.

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History

Teddington Weir is effectively a dam across part of the river, which allows the operators to keep the water at a constant level, by holding it back or letting it go. Without locks and weirs, the river would be a raging torrent in winter and a small stream in summer.

The original Teddington Weir was built in 1811. It was destroyed in 1829 by an accumulation of ice, and rebuilt.

Fish ladders or passes which enable fish to pass around barriers by leaping and swimming up a series of low steps were added in 1864.

In December 1868 the weir burst again and caused local flooding. It was rebuilt in 1871 only to burst again in January 1877 causing enormous damage. Extensive reconstruction work was carried out in 1897 and two roller sluices were added in 1932.  In September 1940 the weir suffered bomb damage as a result of a Second World War bombing raid. Further reconstruction and reorganisation took place in 1950 and again in 1989.

The weir was a popular spot for fishing, as shown in the watercolour and in this photograph taken circa 1900, both of which are held in the Local Studies collection. Today fishing is allowed (a permit is needed) from Weir Island however, it is not a requirement for modern anglers to wear a frock coat and top hat!

The weir and lock are on the uppermost point of the tidal Thames. Today, it is the largest weir on the Thames having 20 electrically operated gates capable of letting 12 billion gallons (54.50 billion litres) of water through a day at peak flow.

Summer flow is usually about 131 million gallons (600 million litres) a day. The Roller Sluice is the largest gate at 4.5m (14ft 9”) by 15m (49ft 3”) and the Fish Pass at 0.75m (2ft 5”) by 0.75m (2ft 5”), the smallest.

Richmond Public Lending Library

Artist unknown, 1884

Watercolour showing an interior view of the lending library in Richmond including people reading.

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History

Richmond Lending Library has the distinction of being the first public library established in the London area under the Public Libraries Act of 1850. This watercolour, by an unknown artist, depicts the interior of the library approximately three years after it first opened on Saturday 18 June 1881. The opening hours were 9am-10pm each day except Sundays, Good Friday, Christmas Day and Bank Holidays. The arches, pointed glass roof and colonnade are still features of the library today.

A committee was set up in 1879 to organise donations of funds and books and by October they had raised money for both the land and building. It was built by J J Osborne of Turnham Green who submitted the lowest tender. When it opened the Library had a stock of 7100 books of which 2000 were donated. Within 3 months the library was issuing 350 books a day.

An extension to the library was opened in August 1885 by Princess Mary Adelaide. In 1905 the council bought The Cottage next door and renovated the library, reopening it in May 1906 and including children's books for the first time. A. A. Barkas, who was the librarian from 1891 to 1921, first formed the Local History Collection. The next librarian A. Cecil Piper also collected local information and his collection is held in Local Studies. Piper divided the library into two, the front section was the reading room and the rear was the lending room. The new layout was opened in November 1924 and a separate children's section was opened in The Cottage in December 1924.  

The library remained open throughout World War ll, closing for only one week in November 1940 following an incendiary bomb attack. The library roofs were set on fire and there was water damage to many of the books. The Local Collection room which housed files of prints, maps and newspapers was one of the worst areas of damage and the newspaper room did not open again until June 1943. After the war the library was refurbished and there have been a number of changes in the shelving. In 1970 the reference library moved to another site and then in 1987 to the Old Town Hall. In 1977 a local resident donated a bronze bust of Henry Vll to the library which is a copy of the effigy on Henry’s tomb in Westminster Abbey.

Stained Glass Window to Commemorate the Reign of Queen Victoria

Artist unknown, 1892

Watercolour and pencil design for a stained glass window presumably at St. Anne's Church, Kew Green, designed to commemorate the Diamond Jubilee of Queen Victoria.

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History

This watercolour, by an unknown artist, shows a design for a stained glass window set in three Gothic arches which is stated to be in commemoration of Queen Victoria's Diamond Jubilee in 1897. The windows include the figure of Christ together with various saints including St Michael the Archangel. The windows were being dedicated and presumably commissioned by Albert Chancellor, a mayor of Richmond. It is known that Queen Victoria visited Richmond twice in 1894 but not in her Jubilee year.

Albert Chancellor was a member of the Chancellor family of estate agents, whose business still survives in Richmond today, although no longer in family membership. He was well known for his  philanthropy in the town, including to Richmond Hospital and Richmond Athletic Club and as a founder of the Richmond Horticultural Society. He also played a leading role in preserving the fine view from Richmond Hill and taking forward the erection of the Richmond Lock and Weir, so vital to the river economy because it maintained a navigable depth of water upstream of the town.  In 1903 Chancellor whilst serving as mayor for the second time, presented King Edward VII with a gold medal when he opened the new Kew Bridge.

There is no indication on the watercolour where the window was to be erected. However, Albert Chancellor was a churchwarden at St Anne's Kew, and it is thought that the window formed part of the extension to the church made in 1902 to add a choir vestry, as a memorial to Queen Victoria. This vestry area was however extensively remodelled in 1977 at the time of Queen Elizabeth's Silver Jubilee in 1977 to provide a new parish hall, and some of the 1902 extension was demolished.

Ship Lane, Mortlake

Albert Betts, 1893

Print of an ink drawing by Albert Betts, showing a view of Ship Lane, towards Lower Richmond Road, Mortlake.

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History

This ink drawing by Mortlake artist and draughtsman Albert Betts shows Ship Lane looking towards Lower Richmond Road. Betts, a barristers Clerk who retrained, produced many images of the area. He produced another, almost identical, drawing of Ship Lane, but without the boy or the horse and cart. John Eustace Anderson, a local historian, collected several works by Betts. Drawings in Anderson’s collection were usually devoid of people and it may have been that Anderson commissioned this version.

The print shows a sign for ‘Young’s…Fine Ales’ on the corner of the street. There has been a pub there since the mid eighteenth century which is currently the site of the The Jolly Gardeners. The pub was originally called The Three Tuns, becoming the Jolly Gardeners in 1796, perhaps reflecting the area's involvement in market gardening. In 1802 the Jolly Gardeners was the site where Stephen Stilwell murdered his wife for which he was later hanged.

The pub, seen in the print, was demolished and rebuilt in 1922. It is still called The Jolly Gardeners and has a Young's sign on the side. As well as the pub, the 1894 Kelly's directory shows that there was a B F Whittaker, QC, JP living in Ship Lane and a builders firm trading from Victoria Works. Today the road runs between sections of the Mortlake Brewery which was built on land once owned by the Archbishops of Canterbury. The houses at the end of the road were demolished in the early twentieth century and that area is now part of Mortlake Green.

Christ Church, East Sheen

Albert Betts, 1894

Print of an ink drawing by Albert Betts, showing an interior view of Christ Church, East Sheen.

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History

Albert Betts (1835- 1906), a draughtsman and print maker, was born in Central London, but moved with his wife Elizabeth Julia Bruce, to Mortlake in 1865 and is now buried in the Old Mortlake Burial Ground close to Avenue Gardens. Between the ages of 57 and 68, Betts produced some 40 drawings of the buildings and landscape around the parish of Mortlake, including this highly detailed interior of Christ Church.

Edward Penryhn was a driving force behind raising money for the building of Christ Church in the mid nineteenth century, when a new church was required as the area of Mortlake and Sheen developed. In 1860, Queen Victoria herself donated £100 to the project. The land on which Christ Church stands was bought from Henry Porter Smith, prompting the dedication of a window in the church’s tower to his memory. Penryhn, himself, died before the church was completed and is, instead, remembered at the church of St Mary the Virgin in Mortlake.

The church was the first to be designed by local architect Sir Arthur Blomfield (1829-1899). Blomfield, known as one of the last great gothic revivalists, became president of the Institute of British Architects in 1886 and was elected Associate of the Royal Academy in 1888. His major buildings include the law courts branch of the Bank of England, Eton College, the erection of the nave, south porch and south transept for St Saviour's, Southwark (Southwark Cathedral), and the Royal College of Music.

The foundation stone of Christ Church was laid on 17 June 1862 and the church was due to be consecrated on 16 April 1863. However in the early hours of 15 March the tower collapsed. Luckily it happened at 6.20 am on a Sunday morning and nobody was hurt. An inquiry found that the collapse had been caused by bad workmanship rather than faulty design. The tower had originally been planned to be 75 feet tall but then it was decided to build only to 40 feet and add to it at a later point, however, the principal subscriber insisted on it being done before the church opened.

The tower was rebuilt and the church was finally consecrated on 13th January 1864. In 1887 a north aisle was added. During The First World War when troops were camped in Richmond Park, the vicar of Christ Church served as their chaplain.

Richmond Palace (around 1649) A Restoration

Henry William Brewer, 1894

Print by Henry William Brewer showing a 'restored' view of Richmond Palace from the river.

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History

Henry William Brewer was born and educated in Oxford and was reputed to be a humble man who shunned publicity or any public acclaim for his well-known work. He is recorded as having died in Nuremburg, Germany. Brewer specialised in aerial views of the great cities of England, Scotland and Europe and examples can be found of Birmingam, Cambridge, Manchester, Edinburgh, Glasgow and Rome in addition to his many drawings of London. Bewer normally published his drawings in architectural magazines such as 'The Builder' and 'The Graphic' and collections of his work taken from these magazines are still available as hardback books. Brewer was named by the Royal Institute of British Architects as the finest of all Victorian architectural draughtsmen.

Brewer also produced reconstructions of long-vanished historical landmarks, such as this one of Richmond Palace. He was known to travel to the sites of these once marvellous structures and remarked in 1894 how little remained of their presence noting that “only a single gateway” remains in Richmond, the site then being much as today. It must be assumed, therefore, that Brewer made use of paintings made of Richmond Palace whilst it was still in its heyday between about 1500 and 1660.

The first Richmond Palace was founded in 1299 by Edward I and as the residence of reigning monarchs, was gradually improved up until 1395 when Richard II’s wife Anne of Bohemia died and he had it torn down in grief. It lay in ruins until, in 1414, Henry V undertook renovations and it was restored to its former glory. However, the palace was once again destroyed when, in 1497 during Henry VII’s reign, the wooden structure was almost totally destroyed by fire.

The print shows Richmond Palace as it looked around 1649. This is after it was rebuilt again and in 1500. It remained more or less in this design up until 1649 and the execution of Charles I. That year a full survey and inventory of the Palace was carried out and provided much of the detailed information on the contents and dimensions of the Palace. The Palace was then sold and over the next 10 years was largely destroyed or dismantled for use in other building works.

Diana Fountain, Bushy Park

C. J. Lauder, 1899

Print of a watercolour by Charles James Lauder showing the  Diana Fountain, (or the Fountain of Arethusa) in Bushy Park.

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History

This watercolour was painted in 1899 by Charles James Lauder (1841-1920) who was born in Scotland, the son of James Thompson Lauder, a portrait painter. He studied art at the Glasgow School of Design under Heath Wilson. Lauder was an elegant draughtsman with an ability to paint towns and cities.  He exhibited at the principal London galleries from 1890, having settled in the capital where he lived for fifteen years. Later in life he returned to Lanarkshire and died in Glasgow in April 1920.

The Fountain of Arethusa (also known as the Diana Fountain) is a bronze statue set on a marble and stone fountain. It was designed in 1636 by the French bronze founder Hubert Le Sueur (c1590-1658) at the request of Charles I and it was installed in the Thames side garden of Somerset House in London, the residence of Queen Henrietta Maria.

In March 1656 Oliver Cromwell gave orders for the fountain to be removed from London and re-erected in the Privy Gardens at Hampton Court Palace.

It was decided in 1712 to move the fountain from the palace to its present position in Bushy Park. The fountain was redesigned by Sir Christopher Wren, although some elements remain of sirens astride dolphins, alternating with scallop shells, clasping fish and other figures. it is situated at the southern end of Chestnut Avenue, which was laid out, on the orders of William III, by Wren in 1713.

John Evelyn, F. R. S. (1620-1706) the English writer, diarist and gardener, attributed the fountain’s design, in 1662, to Le Seuer’s rival, the Italian sculptor Francesio Fanelli (1577-1653), which has caused confusion. However, close examination has showed that its style is those of the Frenchman Le Sueur.

Old Kew Bridge

William Lewis Turner, 1903

Print by William Lewis Turner showing the 'old' Kew Bridge from the riverbank.

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History

Little is known about the life or work of the artist William Lewis Turner who produced ‘Old Kew Bridge’. A copy of some private correspondence was located amongst the items in the Local Studies collection at Richmond showing that he probably lived in East Sheen in 1903. Other examples of his work include watercolour landscapes of Venice and the River Dart in Devon dated between 1900 and 1903 and two restrike etchings – one of Wells Cathedral (undated).

The drawing is likely to be a “retrospective” taken from images available at the time such as the photograph of Old Kew Bridge being demolished, which is held by the Local Studies collection. The 'Old' Kew Bridge referred to in this image, was, in fact, the second Kew Bridge which replaced an original structure opened in June 1759. The bridge, as drawn by Turner, was opened in 1789 amidst great fanfare but by 1890 was causing problems due to its narrow roadway which could not cope with the growing traffic. It also had a steep approach on the Brentford side which added to the congestion.

in 1899, as shown in the photograph, a temporary bridge was constructed alongside the “Old” bridge and demolition was carried out between October and December of that year. The new bridge which is in use today was opened in May 1903 by His Majesty King Edward VII.

Church Street, Twickenham

A. Evacustes Phipson, 1903

Watercolour by A. Evacustes Phipson showing a view of the shops in Church Street, looking towards St. Mary's Parish Church in Twickenham.

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History

When Mr. E. Phipson painted his picture of Church Street in 1903, it was full of busy traders, selling many sorts of fresh food, clothing, household goods, and furniture. The local community could also find many other services such as a chemist, hairdresser, printer, tobacconist, undertaker and pawnbroker. By 1909, there were 36 shops and businesses.

At the time of the painting, every Saturday afternoon, there was a market on the north side of the street, bringing an added variety of goods for sale. Milk, carried in a large metal urn, was delivered every day by a horse-drawn float and customers would bring their jugs to be filled.  On Sundays a muffin man would sell muffins from a green covered tray on his head and another man would sell winkles and shrimps. Three pubs were recorded as existing in the street as far back as 1696 and these were 'The Fox' (previously known as 'Le Bell'), 'The Old Falcon' (which had various name-changes) and 'The Fleece'. Only 'The Fox' remains today. The Twickenham Club was established as a temperance club serving non-alcoholic drinks in 1865 near Twickenham Green, moving to Church Street around 1900. It is still open today but now club members are able to purchase alcohol.

Three local families had a long-lasting connection with Church Street, these are the Davies, the Mesley and the Morris families. Samuel Davies ran a butcher's shop from possibly the 1750s and his descendants or in-laws were still linked to the street until after 1896 - one or two were even church wardens. Samuel Mesley settled in the street sometime between 1817 and 1825. He and his brother were both shoemakers and some of his descendants were also in the boot/shoe trade, including Maria Mesley who occupied a shoe shop in Church Street until her death in 1917. In the 1851 and 1861 censuses, Laban Morris had a baker’s shop at 21 Church St. and his descendants continued to be bakers and confectioners at 14 Church Street until 1937.

The history of Church Street goes back many centuries. It seems there was a small community here in Saxon times and there is a mention in the Domesday Book. A map of 1607 shows the Duke of Northumberland owned land and buildings in parts of Church Street. Land and property nearby was also part of the Royal manor of Twickenham and the York family were in possession of some of these assets, possibly from 1381 until 1583. Lying on the north-east side of Church Street, there was an old Tudor Manor House (later known as Arragon House) which was demolished sometime after 1853. In the seventeenth century, it was very rural, with farms and orchards, and the nearby Thames provided work for fishermen, bargemen, watermen and ferrymen.  In the following centuries, better transport brought more trade and growth.

Kew

V. du Plat Taylor, 1929

Pen and ink wash by V. du Plat Taylor, showing the view looking towards the junction of Kew Road and Mortlake Road.

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History

Little is known about the artist V. du Plat Taylor who produced this pen and ink wash image of Kew in 1929. Anyone who has travelled over Kew Bridge towards Richmond will recognise this scene approaching the junction of Mortlake Road and Kew Road just to the south of Kew Green on what is now the South Circular. The South Circular was added in the 1950s as part of a London orbital ring road and lead to a significant increase in through traffic.

The buildings on the left in view form the end of Mortlake Terrace which continues round the corner into Mortlake Road. In 1928 Mortlake Terrace consisted of 9 shops listed in Kelly's Directories as including a butcher, chemist, grocer and bootmaker. These were very much in line with everyday needs of the time before the advent of large supermarkets.

The artist imbues this scene with something of a rural atmosphere which contrasts with the busy road that it is today. However a photograph from the time, held at the Local Studies Centre, shows the drawing to be an accurate reflection of the scene.

Shot Tower, Crane Park, Whitton

A. R. Cumer, 1939

Watercolour by A. R. Culmer showing the Shot Tower in Crane Park, Whitton, including a figure sitting on a bench.

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History

This watercolour, by A. R. Culmer, shows the Shot Tower which is situated between Twickenham and Whitton, close to the River Crane and within Crane Park. This image was painted just 4 years after Twickenham Council used the land to create a park.

The Shot Tower was built in 1823 and it is widely believed that it was used to produced lead shot. To do this molten lead would be poured through a copper sieve at the top of the tower, this formed into globules as it dropped down, then cooled and hardened upon falling into a cold water tank at the bottom.

Around this area the Hounslow Gunpowder Mills, thought to be one of the largest in Europe, were built in 1776 and the production of gunpowder continued until 1926. As early as c.1540, gunpowder was being produced on Hounslow Heath for Henry VIII and there were a number of mills operating under different ownerships in the area. These were probably sited here because there was easy access to rivers (that could drive the machinery and transport the products) and it was relatively far from settlements.

The Gunpowder Mills were known as incorporating mills as they mixed together gunpowder, sulphur, saltpetre and charcoal. The charcoal was readily available as it could be made from willows and alders that grew along the banks of the river. Crane Park Island was created so that there would be a mill pond which would drive machinery in the mill.  Some millstones used in the process of grinding saltpetre are still on the site but very little is left of the mill buildings.  This is hardly surprising, since gunpowder manufacture is a very dangerous business and there were regular explosions.

The mills closed in 1926 and part of the land was sold for new housing to be built and part sold to Twickenham Council. The Council created a local park in 1935 and nowadays it is a Local Nature Reserve, known as Crane Park, which provides a habitat for a wide range of flora and fauna, including marsh frogs and water voles.

Proposed 'Pedestrianned' Shopping Area in Lower George Street

D. J. Draper, 1962

Watercolour design produced for borough engineer by D. J. Draper showing 'pedestrianned' Lower George Street in Richmond Town Centre.

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History

This watercolour design shows a proposed pedestrianised Richmond Town Centre, prepared for G. S. Weddle in 1962 by a D. J Draper. An article from the Richmond and Twickenham Times, published in June 1970 announces G. S Weddle’s retirement from Council service and describes his career as an engineer in Richmond. Weddle, originally from Lancaster and educated at Liverpool university,  worked on the Mersey Tunnel before completing a total of 40 years service in local government. He first came to work for Richmond in 1935 and took on the role of Borough Engineer between the years 1946 and 1965. Much of Weddle’s career in Richmond was in the context of post-war regeneration. According to the article, after the war, he saw the building of more than 1,000 council houses, oversaw the construction of many municipal buildings and, the rebuilding of the Kew railway bridge. For Weddle, a major task of the post-war years was the future planning of the Ham district, and the public hall, library, schools and other buildings appeared in the area according to his plans.

Many of the buildings shown in the design are still recognisable but, in this image, the road is closed to vehicles and there is the addition of white, raised walk-ways and a high-rise building, giving the street a somewhat futuristic feel. This design may not suggest it, but the article assures that “Mr. Weddle has always believed in preserving [Richmond’s] character”.

The Local Studies collection holds a report to the Redevelopment Committee of Richmond Borough, regarding the ‘Master Plan’ for Richmond Town Centre, The report is dated November 1962, (the same year this image was produced) and was produced by G. S. Weddle (under the job-title Borough Engineer and Surveyor) and T. V. S. Durrant, Surrey County Planning Officer. Much of the report outlines proposals to deal with increasing traffic levels in the Town Centre area. Linked with the concept of the ‘pedestrianised’ Richmond shown in the watercolour design, the report states that George Street should remain the town’s main shopping area and that footways should be improved and traffic reduced. The report states “We do not propose, immediately, to close George Street and Hill Street to traffic. Many of the shops cannot yet be serviced any other way, and the provision of new access will take time. However a large reduction in the traffic in these streets must be achieved and eventually, if the Borough Council should so decide, it should be possible to close parts of them all together to vehicles.”

Although the mid-air walkways and high-rise building never came to be, records in the local Kelly’s Directory from 1962 suggest that the shops depicted were the ones that actually occupied the Lower George Street at the time, including Court Bros (furnishers, 24 George Street), Westminster Bank (managed by E. H. Humphreys, 22 George Street), Ratners (jewellers, 58 George Street) and Eastman’s & Sons (dryers and cleaners, 60 George Street), giving a glimpse into George Street in 1962. This photograph produced by Surrey County Council Planning Department in 1964 shows part of the same view as the watercolour, documenting the presence of Westminster Bank and Courts.

Richmond Lock

Laureena Hogan, c.1970

Watercolour by Laureena Hogan showing a section of Richmond Lock and footbridge.

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History

This lovely watercolour of the Richmond lock was painted by local artist Laureena Hogan who, in 1982, left a large collection of her paintings of local scenes, including Richmond, Twickenham, Isleworth and Kew, to the Local Studies collection in Richmond after moving to a retirement home in Devon.

Richmond lock and footbridge is technically a half-tide lock and barrage and is Grade II* listed. Opened in 1894, it was built as a half-tide barrier to retain enough water upstream to allow the river to be used by pleasure boats at all times.  This means that for most of the year the river level is kept artificially high. Every year around November the weirs at the lock are left open so that the Port of London Authority (PLA) can carry out maintenance work on the lock, weirs and sluices allowing the river between the Richmond and Teddington locks to drain naturally at low tide exposing the river bed.

Richmond Lock is the furthest downstream of all the Thames locks.When the old London Bridge was demolished in 1832 the removal of the palisades, constructed to protect the bridge, resulted in the tides on the Thames rising and falling more rapidly than before.  This meant that for long periods the river at Richmond was little more than a stream running through mudbanks.  In 1890, after many years of petitioning an Act of Parliament was passed (Richmond Footbridge, Sluice, Lock and Slipway Act 1890) which enabled the building of a half-lock and weir downstream of Richmond Bridge. The designer was Mr F G M Stoney.

For about two hours each side of high tide the sluice gates, which make up the barrage, are raised into the footbridge structure allowing river traffic to pass through. The rest of the time the sluice gates are closed and ships and boats must use the lock alongside the barrage. Rowing boats and kayaks can use the slipway. The sluice gates were originally manually operated by the lock keepers who lived under the pedestrian steps on each bank of the river.

To use the footbridge (actually two footbridges that are not connected, one either side of the sluice mechanisms) four toll booths and turnstiles had to be provided to collect the tolls. The toll of one old penny was charged to anyone who wished to cross the bridge. This meant that to get back to where you started it cost you two old pennies. These toll booths and the remains of the turnstile housings can still be seen.  The footbridge is now closed at night to pedestrians.

The Lock was formally opened on 19 May 1894 by the then Duke of York (later King George V) and in 1994 the present Duke of York attended the centenary celebrations.

Langham House, Ham Common

Maurice Marshall Percival, 1972

Pen and crayon drawing by Maurice Marshall Percival showing Langham House at Ham Common.

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History

This pen and crayon drawing of Langham House by Maurice Marshall Percival was drawn for the exhibition 'Rich Habitations' at the Orleans House Gallery which ran from October 1972 to April 1973. Twelve other drawings by Percival were also included in the exhibition. According to an article in the Richmond and Twickenham Times from 1962, Percival lived close to Langham House at Sudbrook Cottages, Ham Common and was art master at Harrow School for 10 years, leaving in 1954 to work for himself.

Langham House, on the South West side of Ham Common, is a rather plain but elegant house and was built around 1709. Between 1780 and 1790 it was occupied by the Marquess of Tweedale and in 1891 it was the home of Charles Edgeworth (half-brother of the Irish author Maria Edgeworth) who was involved in the management of the National Orphan School on the other side of Ham Common. In 1937 Langham House became the home of Sir Philip Game who was Governor of New South Wales from 1930-35 and a Commissioner of the Metropolitan Police during the Second World War. In 1949 Sir Lyonel Tollemache and his son Sir Cecil Tollemache moved to Langham House when the Ham House estate was sold.

One of its more illustrious occupiers was Admiral of the Fleet, Sir John ‘Jacky’ Fisher, who was First Sea Lord from 1904 to 1910. He joined the Navy as a Cadet in July 1854 and served in the Baltic fleet during the Crimean War and also in China. He rose through the ranks and during his time as Third Sea Lord and Controller of the Navy he was greatly involved in warship design. When he became Second Sea Lord he began putting into practice his reforms for the Navy.  It was said of him that he was an outstanding innovator and administrator responsible for wide ranging reforms which transformed the navy of the Victorian age into a military machine capable of maintaining Britain’s naval supremacy in the First World War. He returned to the Admiralty as First Sea Lord in 1914 but became at odds with the First Lord of the Admiralty, Winston Churchill, over the proposed Dardenelles campaign and resigned his office in 1915. In 1909 he was raised to the peerage with the title of Baron Fisher of Kilverstone, a Norfolk estate. On his death in July 1920 he was given a public naval funeral in Westminster Abbey and was buried at his Kilverstone estate.

In 1955 the property at Langham House was sold and converted into flats. The garden at the rear was sold separately and Langham House Close was built on the site. This landmark development of 30 two and three storey flats was designed by James Gowan and Sir James Stirling, the most influential British architect of his generation. The flats were listed Grade II* in 2006 and are often described as being “uncompromisingly brutalist”.