Art as a tool in support of the understanding of
coastal change in Wales
Marine research report
Professor Robin McInnes
Sarah Benstead
www.thecrownestate.co.uk Marine research report 1
The Crown Estate
London
16 New Burlington Place
London W1S 2HX
020 7851 5000
Edinburgh
6 Bell’s Brae
Edinburgh EH4 3BJ
0131 260 6070
www.thecrownestate.co.uk
@TheCrownEstate
‘Art as a tool in support
of the understanding of
coastal change in Wales’
Professor Robin McInnes,
OBE, FICE, FGS, FRSA
and Sarah Benstead BSc
(Hons) FRSA
©Crown Copyright 2013
ISBN: 978-1-906410-42-1
Front Cover:
‘Penman-maur’ by
William Daniell; 1814.
Published by The Crown Estate
The basis of this report was work undertaken
by Robin McInnes and Sarah Benstead of
Coastal and Geotechnical Services on behalf
of The Crown Estate.
Dissemination Statement
This publication (excluding the logos) may be
re-used free of charge in any format or medium.
It may only be re-used accurately and not in a
misleading context. The material must be
acknowledged as The Crown Estate copyright and
use of it must give the title of the source publication.
Where third party copyright material has been
identified, further use of that material requires
permission from the copyright holders concerned.
2 Marine research report www.thecrownestate.co.uk
Disclaimer
The opinions expressed in this report are entirely
those of the authors and do not necessarily
reflect the view of The Crown Estate, and The
Crown Estate is not liable for the accuracy of the
information provided or responsible for any use
of the content.
Suggested Citation
McInnes, R. and Benstead, S. 2013.
‘Art as a tool in support of the understanding
of coastal change in Wales’. The Crown Estate,
106 pages. ISBN: 978-1-906410-42-1
First published 2013.
This report is available on The Crown Estate
website at www.thecrownestate.co.uk
Contents
Foreword
5
Executive Summary
7
Introduction to this report
13
1.0 Coastal Change in Wales
20
2.0 How can historical resources assist in understanding coastal change?
34
3.0 Validating the accuracy of historical artworks of the Welsh Coast
42
4.0 A description of the coastal art of Wales 1770-1920
60
5.0 The availability of art resources to support coastal management
70
6.0 Art and coastal change – case studies
74
7.0 Conclusions and Recommendations
90
Appendices
Appendix 1 – Selected further reading and reference books
93
Appendix 2 – List of artists who painted the Welsh coastline 1770-1920
95
Note: The spellings of place names in citations from books and historical documents
have been unaltered and may differ from the current names and spellings.
www.thecrownestate.co.uk Marine research report 3
4 Marine research report www.thecrownestate.co.uk
Foreword
Figure i.1:
A mid-nineteenth century
hand-coloured lithograph
of Llandudno on the coast
of North Wales. This
detailed view provides
The coastline of Wales is of immense significance to its wildlife, people, culture and
economy. Whilst there has only recently been international and media focus on climate
change and its likely consequences, the geography and climate of Wales have been
changing throughout its history. The coastline has responded to the global changes
in sea level over many millions of years and the inhabitants of Wales have adjusted
their lives accordingly.
a wealth of information
about conditions in the
expanding seaside resort
at that time. The nature
and form of the beach
On geological timescales the ability to capture ‘the moment’ pictorially appeared very
recently, after the invention of photography in the 19th century. Prior to these times,
evidence of changes to the geography of Wales and the consequences have to be found
in another medium, either in the written word or in works of art such as paintings.
and coastal geology
are carefully depicted,
as are the extent of
coastal developments,
which line the impressive
promenade. By this time
printmakers were
producing works of very
In planning to adapt to the anticipated future changes to the Welsh coastline, it is useful
to examine what has occurred in the past, both in terms of the nature and the speed
of such changes. Our coastline has been a source of inspiration for artists for hundreds
of years and the historical record contained in paintings which feature the Welsh coastline
is a fascinating account of the population’s interaction with the landscape. Institutions
in Wales, in particular the National Museum, but also regional and local collections, are
custodians of important items and hence the information is accessible to all.
high quality, which were
purchased by visitors as
souvenirs before the
days of photography.
A succession of such
works over time can
This impressive report provides a fascinating snapshot of the changing coastline of Wales
as shown in the particularly rich heritage of landscape paintings, watercolour drawings,
prints and historical accounts. I particularly like the idea of ranking the works of art by
using a scoring system based on their perceived usefulness in aiding the understanding
of our changing coastline.
provide a chronology
of physical, environmental
and social change over
the last one hundred
and fifty years.
The Crown Estate is to be commended for its initiative in commissioning and publishing
this study. The authors of the report, Robin McInnes and Sarah Benstead, have done
an excellent job in discovering, assessing and ranking the works of art and bringing this
fascinating subject, and the wealth of relevant artistic material, to the attention of the
people of Wales.
I have greatly enjoyed reading the report and I highly recommend it to you.
Iolo Williams
www.thecrownestate.co.uk Marine research report 5
6 Marine research report www.thecrownestate.co.uk
Executive Summary
Figure i.2:
This hand-coloured steel
engraving of Cardiff shows
the extent of the city
looking down towards the
Bay in the late 1830s. This
is one of numerous views
of the coast of Wales
contained within the
important publication
The coastline of Wales represents not only a
resource of enormous value to the country,
from economic, social and environmental
perspectives, but also illustrates its turbulent
history and its struggle against invaders over
the centuries. Along its beautiful 750 mile
(1,200 km) coast a wealth of fine castles,
seaside resorts and industrial ports and
harbours reflect the story of development of
Wales over the last one thousand years.
‘Ports, Harbours and
Watering Places of Great
Britain’ by E. & W. Finden
(1838). The use of harder
steel plates for engraving
instead of the earlier, softer
copper plates allowed an
improved level of detail to
be achieved as well as the
production of more copies
of illustrated books to meet
the demands of the
increasing numbers of
visitors to Wales.
In Wales, as elsewhere around the European
coastline, there has been an increasing
recognition of the pressures faced by coastal
zones, not just as a result of natural coastal
change, but also arising from the competing
demands of users. In order to reconcile
the activities and interests of the many
organisations and interests involved around
the coast a sustainable framework for
coastal management has been promoted to
try and reconcile the pressures and conflicts
between stakeholders. ‘Integrated coastal
zone management’ is now widely accepted
as the most suitable approach in terms of
managing coastal zones looking ahead over
the next century.
coastal scientists allowing them to monitor
conditions on land and at sea. However,
around the coastline of the British Isles
there are few locations where accurate
measurement and monitoring of coastal
change has been taking place for more
than a decade, and other records such as
aerial photography have only been available
since the Second World War. This study
examines the potential for using art,
including landscape paintings, drawings
and prints from the eighteenth, nineteenth
and early twentieth centuries to support
scientific tools by providing a much longer
term perspective to our understanding of
coastal change. Art provides the opportunity
to examine the changing coastline of Wales
over the last two hundred years by
illustrating physical and land use changes,
including progressive coastal development,
particularly since the Victorian period.
It has also been recognised, following
research over the last twenty years in
particular, that an understanding of longterm coastal evolution and the processes
of change, comprising marine erosion,
sedimentary transport, and its subsequent
deposition, is fundamental to wise planning
and decision-making for the future,
particularly if, as a result of coastal climate
change, these processes may speed up.
The implications of sea level rise as well as
possibly more unsettled weather patterns
are likely to increase the hazards of erosion,
sea flooding and land instability with resulting
impacts on businesses, infrastructure and
residents around the Welsh coast.
The opportunities provided by art to support
understanding of coastal change have been
highlighted through research commissioned
over the last four years by The Crown Estate
(McInnes, 20081; McInnes & Stubbings,
20102, 20113). These studies have
investigated the ability of historical artworks
to inform understanding of change along the
coastlines of Hampshire, the Isle of Wight,
and East Anglia, and more widely around
the English coast. The value of not only
landscape paintings, drawings, and prints,
but other media including historic maps, sea
charts, postcards and photographs, as well
as early literature accounts, to extend the
database of information in this important area
has been highlighted. The studies sought to
illustrate the impacts on coastal zones from
the natural hazards of erosion, flooding, and
landslip, particularly along frontages which
have been recognised as being of economic,
historical or environmental importance.
In order to measure coastal change a
number of tools have been developed by
The Welsh coast was visited by many artists
in the eighteenth, nineteenth, and early
www.thecrownestate.co.uk Marine research report 7
8 Marine research report www.thecrownestate.co.uk
Figure i.3:
This very detailed
portrayal in oils of
the coastal geology at
‘Fishguard Bay’ (1883)
is by the Pre-Raphaelite
artist John Brett. The
Pre-Raphaelites wished
to capture nature in an
exact form through their
works, often painting out
of doors. Such accurate
images provide an
important record of
conditions in the coastal
zone of Wales in the
mid-to-late nineteenth
century.
twentieth centuries. Painters of the landscape
generally create images that we can
understand and easily appreciate both for the
information they impart and for their aesthetic
qualities. Fortunately, the coastline of Wales
has been an important source of inspiration
for artists, particularly since the late eighteenth
century. The dramatic scenery of Snowdonia,
the Wye Valley, and the coast itself have been
portrayed through the works of celebrated
artists and amateurs who painted the varied
coastal landforms and landscapes; these,
collectively, form an illustrated chronology
of coastal change since the late eighteenth
century. It is also important to recognise that
works of art form a medium that is usually
enjoyed and understood by those who live
on the coast or who are interested in it, and
they often form images that residents can
immediately relate to. People who live along
varied and beautiful coastlines, such as those
of Wales, often have a fascination for the
history and culture of their location, as well
as a great attachment to it, and this is often
shared by visitors. Studies elsewhere
(McInnes, 20081; McInnes, & Stubbings,
20102) have, therefore, demonstrated that
works of art and other historical images
are of great interest and potential value in
providing a comparison to the present day
landscape that is so well known to many
coastal residents.
The Napoleonic Wars and the French
Revolution prevented travellers and artists
from taking the Grand Tour of Europe for
over twenty years and this led to a focus,
instead, on the wilder and more remote
landscapes of the British Isles. Subsequently,
during the Victorian era, the popularity of
the seaside, and sea bathing, has provided
us with a rich resource of illustrated books
containing steel plate engravings, aquatints
and lithographs and, later, photographs or
colour prints. These illustrations were often
supplemented by detailed accounts of the
coastline of that time. Insight can, therefore,
be gained from the comprehensive
descriptions provided alongside
the images themselves.
The studies commissioned previously by
The Crown Estate (McInnes, 20081; McInnes
& Stubbings, 20102, 20113) have
demonstrated that artworks do provide
an important tool to support other techniques
such as coastal monitoring programmes,
including air-borne and space-borne
techniques, ship-based surveying and ground
surveying to assist our understanding of the
complexities of coastal change. It has been
recognised, in fact, that works of art extending
back to the late eighteenth century, long
before the days of photography, can often
provide the only record of coastal conditions
at that time. Depending upon the accuracy
of the work of art or the written accounts,
they can provide a useful assessment of the
nature, scale and rate of coastal change over
the last two hundred years.
The Crown Estate studies have provided
the opportunity to investigate thoroughly
the contribution that art, photography and
historical literature accounts can make
to our understanding of coastal change
in England. This new study has involved
a detailed assessment of Welsh works of
art contained in public collections of national,
regional and local importance; additional
valuable information has been gained from
private collections. The evaluation of historical
artworks in Wales has led to the creation
of a shortlist of those artists and works
of art which, in the opinion of the authors,
provide a reliable assessment of the nature
of the coastline conditions at the time they
were painted. Such a methodology can
only be verified through the development
of a ranking system, which allows accurate
comparison to be made of the relative value
of artworks in terms of assisting our
understanding of the changing coast;
this methodology has been refined after
examination of works of art relating to
the Welsh coastline.
Sustainable coastal management has
received a higher profile in recent years
as a result of actions by the European
Commission (European Commission, 20024,
20075) and by the United Kingdom and
Welsh governments in terms of developing
sustainable policies for the coast (Defra and
Environment Agency, 20116; Defra, 20097;
CLG, 20108; Welsh Government, 20119).
www.thecrownestate.co.uk Marine research report 9
10 Marine research report www.thecrownestate.co.uk
Figure i.4:
‘A view of Britton Ferry’
near Swansea by William
Daniell in 1814. This is one
of twenty-five Welsh
aquatints produced by
Daniell for his monumental
work ‘A Voyage Round
Great Britain’ which took
eleven years to complete.
Not only do Daniell’s views
offer a detailed insight to
the nature of the Welsh
coastline in the early
nineteenth century but
also the extensive
accompanying written
account by his colleague,
Richard Ayton, describes
the physical conditions at
A ‘National strategy for the management
of coastal risks’ was launched by the Welsh
Government in 2011 (Welsh Government,
20119) and was supported by the preparation
of updated Shoreline Management Plans
for the whole of the Welsh coastline. This
process has involved an assessment of
the risks from the hazards of coastal
erosion, flooding and instability looking
ahead for the next one hundred years.
The research undertaken and the knowledge
gained from the implementation of these
policies and plans is of vital importance,
bearing in mind that physical coastal
processes are likely to speed up as a result
of predicted climate change and sea level
rise. As a result of the actions of the Welsh
government more effective policy guidance
for planning and management of change
around its coastline is being implemented.
the time, including
erosion, instability
problems, and coastal
This study of Welsh coastal art has
demonstrated that there is a rich heritage of
landscape paintings, watercolour drawings
and prints, as well as historical literature
accounts, which can be used by those
involved in coastal management to support
a more sustainable approach to its planning
and management. The opportunity exists
to make better use of these resources
contained in museums and art galleries or
held by local authorities around the Welsh
coast. Artworks provide a view of the
coastline that is easily appreciated in terms
of illustrating coastal conditions over time,
including images that will be immediately
recognised and understood by those living
on the coast, who may not necessarily
have any technical knowledge of coastal
processes and change. The authors hope
that this report to ‘Art as a tool in support
of the understanding of coastal change
in Wales’ will prove helpful by providing
practical examples of how art and other
historical resources can benefit all those
living or working on the Welsh coast.
change, more widely.
References
5. European Commission, 2007.
1.McInnes, R. 2008. ‘Art as a Tool in Support
of the Understanding of Coastal Change in
‘Communication on the integrated
Hampshire and the Isle of Wight’. The Crown
management of coastal zones’. Brussels.
Estate. ISBN: 978-1-906410-08-7.
6. Defra and Environment Agency, 2011.
2.McInnes, R, & Stubbings, H. 2010. ‘Art as a
’National Flood and Coastal Erosion Risk
Tool in Support of the Understanding of
Management Strategy for England’. Crown
Coastal Change in East Anglia’. The Crown
Copyright.
Estate. ISBN: 978-1-906410-10-0.
7. Defra, 2009. ‘A Strategy for Promoting
an Integrated Approach to the Management
3.McInnes, R. & Stubbings, H. 2011.
‘A Coastal Historical Resources Guide
of Coastal Areas in England’. Crown Copyright.
for England’. The Crown Estate. ISBN:
8. DCLG, 2010. ‘PPS 25 Supplement
978-1-906410-19-3.
‘Development and Coastal Change Practice
Guide’. Crown Copyright.
4.European Commission, 2002.
‘Recommendation of the European Parliament
9. Welsh Government, 2011. ‘National Strategy
and Council Concerning the Implementation
for Flood and Coastal Erosion Risk Management’.
of Integrated Coastal Zone Management in
Europe’. Brussels.
www.thecrownestate.co.uk Marine research report 11
12 Marine research report www.thecrownestate.co.uk
Introduction
to this report
Figure i.5:
A view of the Menai Straits
and bridge engraved finely
on a steel plate c.1845.
The landscape of Wales is characterised by
relatively low-lying coastal zones backed by
a hinterland of high mountains and hills,
which have been dissected by river valleys
flowing from the uplands towards the sea.
The coastal zone itself comprises a strip of
land and its adjacent shoreline and marine
environment, which may vary in width
depending on the natural environment and
the management needs of the area. Parts
of the Welsh coastal zone are recognised as
being of national importance in terms of their
landscape and scenic value, as well as being
important natural habitats and environments,
which are enjoyed by residents and visitors
for relaxation and recreation. Along these
beautiful coastlines, historical developments
illustrate the history of the country dating
back to Roman times; for example, the
archaeological remains at Caerleon in South
Wales and at Caerwent. Later numerous
magnificent castles were built, which has
resulted in Wales having an outstanding
legacy in terms of such buildings. These
now form a national asset of enormous
importance, with many of the great castles
set in superb locations, often against
backdrops of the mountains or the sea.
Since the 1980s there has been considerable
progress in encouraging more sustainable
management of coastal zones, and,
alongside a better understanding of the
processes of coastal change, research
has informed policy-making for the coast.
Where parts of the coastline are composed
of soft rocks, or are more low-lying, proper
consideration has been given to natural
hazards and the resulting risks to coastal
properties, infrastructure and the natural
environment. Risk management strategies,
such as shoreline management plans,
provide a framework for addressing risks
around the coastline arising from erosion
by the sea, coastal flooding and coastal
instability problems. Research undertaken
in recent years (Defra, 20101; Defra and
Environment Agency, 20112; CLG, 20103)
has led to the recognition that climate
change and sea level rise will increasingly
impact upon the lives of coastal residents,
businesses and other assets. These impacts
include those resulting from a possible
increase in both the frequency and the
intensity of storm events.
Coastal engineers and their planning officer
colleagues have sought to address these
increasing pressures on the coastal zone
through an improved, more co-ordinated
approach to the management of risks.
Along the Welsh coastline it is recognised
that it would be undesirable and indeed
unnecessary to defend large parts of the
coast, particularly the hard rock frontages.
In other locations, where developments are
scattered, coastal defence measures may be
uneconomic or unsustainable. The strategic
shoreline management planning process
(Defra, 20064; Welsh Government, 20115)
provides a mechanism for assessing and
managing risks looking ahead over the
next 100 years, and, by bringing together
decision-makers as well as stakeholders
through this process, a more workable
approach, based upon best available
scientific data, has been formulated. In
addition the United Kingdom government
restructured the responsibility for addressing
coastal risks. For the first time one
organisation, the Environment Agency in
England, took on overall responsibility for
both flood defence and coast protection
(Defra and Environment Agency, 20112).
In Wales the Welsh Environment Agency
promotes a similar approach to flood and
erosion risk management in line with the new
national strategy (Welsh Government, 20115).
www.thecrownestate.co.uk Marine research report 13
14 Marine research report www.thecrownestate.co.uk
Figure i.6:
This finely detailed
watercolour of the
picturesque coastal resort
of Tenby in South Wales
was painted by Joseph
Murray Ince in c1840.
Of all the media used
by artists to depict the
coastal scenery of Wales
the use of watercolour
often provides the most
detailed description.
Hence watercolour
drawings represent
particularly important
records of coastal
Coastal residents and businesses are
becoming increasingly aware of the risks
posed by both erosion and flooding by the
sea. Over the last two centuries, particularly
during the Victorian seaside development
boom, some developments took place in
vulnerable, less sustainable locations.
Rising sea levels and the impacts of coastal
erosion on cliffs and beaches, over time,
have posed increasing levels of risk to both
commercial development and residential
properties, as well as to important
environmental assets and habitats. To help
meet these concerns the Welsh Government
launched a ‘National strategy for flood and
coastal erosion risk management’ in 2011
(Welsh Government, 20115).
conditions at the time
they were painted.
The strategy recognised that one in six
properties in Wales is at risk from flooding
and every local authority in Wales will now
produce its own strategy based upon the
national one. The government is seeking
to reduce the consequences for coastal
communities and businesses arising from
flooding and erosion, as well as raising
awareness and engaging with local people
over the management of flood and coastal
erosion risk. Such measures form part of a
wider commitment by the Welsh Government
towards sustainable development (Welsh
Government, 20126).
Where coastal communities, businesses
and infrastructure have developed along
the Welsh coastline efforts have been made,
particularly since the mid-nineteenth century,
to protect these assets from the impacts
of erosion and sea flooding. Most commonly
this was achieved through the construction
of sea walls, groynes and other defence
measures and these, in many locations,
have proved to provide vital protection
for the historic coastal towns and seaside
resorts as well as for key infrastructure such
as port installations, coastal roads and
railways. Over the last half century, however,
it has also been recognised that coastal
defence works can have, sometimes,
adverse impacts on environments downdrift leading to, in some locations, increased
coastal erosion or the promotion of instability
problems. In Wales, therefore, a more
co-ordinated approach to address such
issues, has been in place for the last twenty
years through the formation of ‘Coastal
Groups’ of engineers, planning officers,
nature conservation interests and others,
bringing together adjacent local authorities
within coastal ‘sediment cells’. Coastal
cells, which are generally bounded by major
headlands or estuaries, allow a relatively
contained sub-division of the Welsh coast
encouraging more co-ordinated consideration
of proposed coastal engineering and other
development proposals, and thereby helping
to ensure, for example, that the coastal
engineering activities of one local authority
do not adversely impact upon its neighbours.
Around the coastline of the British Isles
various approaches have been adopted
to meet the challenges posed by coastal
change. The United Kingdom government
has highlighted the important role that
coastal defences play in terms of reducing
the risk to people, property and the natural
environment through the implementation
of sustainable solutions (Defra, 20064). This
approach has been echoed by the Welsh
Government following the development
and launch of its ‘National Strategy for
Flood and Coastal Erosion Risk Management’
(Welsh Government, 20115).
The outstanding importance of the natural
Welsh coastline from both landscape and
habitat perspectives has increased the
appreciation of the fact that, wherever
possible, the physical processes of erosion,
sediment transport around the coast, and
its subsequent deposition, should be allowed
to continue uninterrupted and that where
coastal defence measures are deemed
necessary these can be fulfilled in the most
sustainable and environmentally acceptable
way by seeking to ‘work with nature’. For
example, the use of natural materials such
as shingle as a coastal defence measure
may prove the most effective and minimise
impacts on the environment. If we are to
prevent further deterioration of the natural
coastline more thought must be given to
achieving a better balance between the
human, socio-economic and natural factors
along the coast, and to effective joint
www.thecrownestate.co.uk Marine research report 15
16 Marine research report www.thecrownestate.co.uk
Figure i.7:
This aquatint by William
working as part of the preparation of the
shoreline management plans.
Daniell shows the South
Stack headland and
lighthouse of Anglesey in
1815, connected only by a
rope bridge. Because
many of Daniell’s views
were taken from the sea
on his coastal ‘Voyage
Round Great Britain’
(1814-25) they often depict
the coastal scenery and
geology particularly well.
The spectacular scenery to be found
along the 750 miles (1,200 km) of the Welsh
coastline results from its geological history,
as well as from the completeness of the
succession which includes rocks from
nearly all the Geological Systems ranging
from some of Britain’s oldest rocks, such
as the Pre-Cambrian, through to relatively
recent deposits. Mountain-building phases
have resulted, over geological time, in rocks
being uplifted, compressed, folded and
faulted and subsequently eroded and
weathered to create a diverse range of
coastal landscapes of varying durability
in terms of the effects of coastal erosion.
Where soft rock coastlines exist these
have been affected by marine erosion at
the toe of cliffs and slopes leading to a cliff
retreat and coastal landsliding. Elsewhere
low-lying beaches may form modest
protection for some coastal settlements.
These developments may suffer from
an increasing risk of flooding over time,
particularly in view of predicted rates of sea
level rise of over one metre by the year 2100.
In Wales there are also long frontages
of durable rocks which may be relatively
unaffected by coastal erosion, although
weathering will continue to result in rock
falls and landslides periodically. However,
long hard rock clifflines often fronted by
magnificent sandy beaches, such as those
along the Gower coastline, may be affected
also by rising sea levels. Such changes will
lead to increasing scour of beaches and
their lowering in front of hard cliff lines
(National Trust, 20057).
A key requirement of coastal risk
management is, therefore, to meet the
challenges of coastal climate change; this
is widely regarded as the most important
issue to be faced by coastal decision-makers
and the communities that they represent. In
Wales, alongside the shoreline management
planning process, research and investigation
works including a strategic approach to
monitoring of coastal change are being
implemented. The Wales Coastal Monitoring
Centre, with financial support from the
Welsh Government, was established
following the recognition by the Wales
Coastal Groups Forum of the need to
improve the co-ordination of coastal
monitoring data collection, storage and
analysis. The aim of the monitoring
programme is to establish a framework to
provide high quality information on coastal
change that will help inform flood and
coastal risk management for the future
(Pennington, 20118). Alongside these
scientific advances considerable progress
has been made by the United Kingdom
government, and by the Welsh Government,
in terms of developing policy and guidance
for planning and management of coastal
climate change impacts (CLG, 20103;
Defra, 20101; Welsh Government, 20115).
The preparation of this report followed
consideration by one of the authors, in
2008, of some important artworks in national
and local collections by nineteenth century
artists who were interested in portraying
coastal topography in a detailed manner. A
review of works by some of Britain’s leading
artists led the author to examine the potential
value of artworks in terms of supporting
coastal risk management and a wider
understanding of coastal change and the
sustainable management of coastal zones.
The Crown Estate and the National Maritime
Museum supported an initial study of the
Hampshire and Isle of Wight coastlines
through The Crown Estate – Caird
Fellowship 2008 (McInnes, 20089); this
approach was advanced further by The
Crown Estate through its commissioning
of two further studies of ‘Art and Coastal
Change in East Anglia’ (McInnes & Stubbings,
201010) and ‘A coastal historical guide for
England’ (McInnes & Stubbings, 201111).
As part of the dissemination process the
very positive feedback received from those
interested in coastal management, including
coastal residents, encouraged The Crown
Estate to commission this further report
for the coastline of Wales (McInnes &
Benstead, 201312).
The coastline of Wales has an exceedingly
rich art history extending from the late
www.thecrownestate.co.uk Marine research report 17
18 Marine research report www.thecrownestate.co.uk
Figure i.8:
This richly coloured
aquatint of ‘Abermaw’
(Barmouth) is contained
in Thomas Compton’s
publication ‘The North
Cambrian Mountains – A
Tour Through North Wales’
(1820). Compton’s book
was illustrated by views
after some of the leading
artists of the time including
Thomas Girtin, Peter de
Wint and J. M. W. Turner.
eighteenth century. The works of early
landscape painters, either as works of art in
their own right or as illustrations in
topographical books, combined with the
great interest during the nineteenth century
in the emerging science of geology, and the
recording of natural events, have provided
us with a wealth of material to draw upon,
and enable us to to make comparisons with
the present day coastline. Importantly also,
the art of drawing was a skill regarded by
the Navy as of particular importance for their
officers to master. As a result coastal drawings
and paintings by Naval officers are, often,
remarkable for their topographical accuracy.
of long-term change around the Welsh
coastline. The authors believe that art
is currently an under-used resource and
it is hoped that this report will increase
awareness of the rich heritage contained in
Welsh collections and encourage their use in
support of sustainable coastal management
and the understanding of all aspects of
long-term change on the Welsh coast. The
report aims to assist scientists, researchers,
local authority staff including coastal
engineers, planning officers and environment
and countryside managers, as well as
non-government organisations and other
coastal stakeholders, in three main ways:
Works of art depict coastal change and
natural events over time but also provide
valuable information of progressive coastal
development and environmental change.
Alongside paintings and drawings,
photographs, postcards and literature
accounts also illustrate or describe changes
around the Welsh coastline, including the
landscape, agriculture practices and social
change. The main aim of this report is,
therefore, to highlight the added value
of works of art and related media as tools
to assist understanding of all aspects
•By raising the profile of art in Welsh
national, regional and local collections
as an additional resource available to
support wise coastal management and
aesthetic decision-making;
•By assisting in providing a chronology
of coastal change since the late
eighteenth century;
•By providing a practical and accessible
tool for users that can support the
preparation of coastal plans, landscape
assessments and strategies, as well
as research.
References
1.Defra, 2010. ’Adapting to Coastal Change:
National Trust.
Developing a Policy Framework’. Crown
8.Pennington, L. 2011. ‘First Annual
Copyright.
Report – Wales Coastal Monitoring
2.Defra and Environment Agency, 2011.
Centre’. Gwynedd.
‘National Flood and Coastal Erosion Risk
9.McInnes, R., 2008. ‘Art as a Tool to Assist
Management Strategy for England’. Crown
Understanding of Coastal Change’. The
Copyright.
Crown Estate. ISBN: 978-1-906410-08-7.
3.DCLG, 2010. Planning Policy Statement 25
10.McInnes, R. & Stubbings, H., 2010. ‘Art as a
Supplement ‘Development and Coastal
Tool in Support of the Understanding of
Change Practice Guide’. Crown Copyright.
Coastal Change in East Anglia’. The Crown
4.Defra, 2006. ‘Shoreline Management Plans
Estate. ISBN: 978-1-906410-10-0.
Guidance’. Crown Copyright.
11.McInnes, R. & Stubbings, H. ‘A Coastal
5.Welsh Government, 2011. ‘National Strategy for
Flood and Coastal Erosion Risk Management’.
6.Welsh Government, 2012. ‘Sustainable
Report for The Crown Estate. ISBN:
978-1-906410-19-3.
Development Bill’. Press release from Welsh
Government 31/01/12.
12.McInnes, R. & Benstead, S. 2013.
‘Art as a tool in support of the understanding
7.National Trust, 2005. ‘Shifting Shores – Living
with a Changing Coastline’. Report by the
Historical Resources Guide for England’.
of coastal change in Wales’. The Crown
Estate. ISBN: 978-1-906410-42-1
www.thecrownestate.co.uk Marine research report 19
1
20 Marine research report www.thecrownestate.co.uk
Coastal Change
in Wales
Figure 1.1:
1.1Geology and geomorphology
country is contained in the ‘British Regional
Geology – Wales’ (Howells, 20072).
The rugged coastal
geology and
dramatically located
lighthouse at The
Mumbles near
Swansea was a
popular subject for
artists touring the
coast of South
Wales including
William Daniell and
the Finden brothers.
Within its land area of just over 8,000
square miles and measuring some 160
miles by 60 miles, elements of all the major
geological systems can be found in Wales,
ranging from the ancient Cambrian rocks
through to the Holocene. Mountainbuilding, over geological time, together with
structural effects including uplifting, folding,
faulting, and subsequently weathering and
erosion, have resulted in a coastline of
great interest and diversity which displays
a wide range of geomorphological features
as well as creating a landscape of
enormous scenic beauty and interest. The
mountainous interior was severely affected
by glaciations, and from this hinterland
rivers incised deeply as they flowed from
the centre of the country down to the
relatively low-lying coastline. The variety of
the coastal geology of Wales, as well as the
structural form of the exposures including
the joint lines, bedding planes and the
angles of dip of the strata, all have an
influence on the appearance of the
coastline and contribute to form the
features that are so much admired.
For a small country Wales has had an
enormous influence on the science of
geology, particularly as it developed in the
late eighteenth and nineteenth centuries. At
the end of the eighteenth century, William
Smith, the ‘Father of British Geology’,
explored the geology and landscape, whilst,
later, Adam Sedgwick and Roderick
Murchison undertook their detailed studies
in central and north Wales. The first
comprehensive account of the geology of
North Wales was published in a Memoir
(Ramsay et al, 18811) following completion
of the geological map of Wales in 1879. An
authoritative account of the geology of the
1.2 The history of coastal change
The evolution and shaping of the Welsh
coastline has been influenced by a number
of factors since the last Ice Age, including
the rate of sea level rise and the resulting
nature and severity of coastal erosion. The
influence of climate is also particularly
significant for soft rock coastal frontages
as rainfall weakens soft cliffs, often promoting
slope instability or cliff failures. Along the
coast itself the process of erosion and the
subsequent transport of materials by
longshore drift has resulted in the formation
of magnificent beaches as a result of
accretion in some locations, but depletion
along some other frontages. Evidence of
change around the dynamic coastline of
Wales can be found from early historical
accounts, which sometimes describe the
need for replacement of buildings and
structures previously lost to the sea. For
example, the church of St Ina near New
Quay, Ceredigion, was dedicated to a
Saxon king. The original church was lost
to coastal erosion and the existing building
is, perhaps, at least the third constructed
on the site. Further evidence of coastal
change is provided by historic lime kilns,
which were constructed on the coast for
easy transport of materials; these can also
be found in Ceredigion. Early maps indicate
their coastal location and their gradual loss
to the sea over time.
Around the Welsh coast there is evidence
of change both in terms of significant
accretion in some locations and land loss
in others. At Morfa Harlech extensive
accretion has taken place for centuries both
www.thecrownestate.co.uk Marine research report 21
22 Marine research report www.thecrownestate.co.uk
Figure 1.2:
The extensive coastal
dune system overlooked
by Harlech Castle was
noted by early writers and
artists as they toured the
Welsh coast.
Figure 1.3:
Although now partially
masked by vegetation
the extensive rockfalls at
Oxwich Bay on the coast
of South Wales were
described by William
from wind-blown sand and accumulated
material washed down by rivers from the
mountains of Snowdonia in the hinterland.
Harlech Castle, which was built in 1274,
was originally sited on the shoreline but
now an extensive National Nature Reserve,
comprising rolling dunes covered in marram
grass separates the historic building from
the sea. Severe coastal storms through
the early twentieth century have resulted
in flooding and property loss at a number
of locations. Major events include those
at Conwy and Aberaeron, which led to
extensive flooding in 1910, the Gwynedd
storms of 1927, the great storm at
Aberystwyth of 1938 and storms affecting
Amroth in Pembrokeshire in the 1950s.
The written accounts of early travellers
can also provide us with an insight into
coastal change over time. One of the most
comprehensive topographical accounts of
the Welsh coast is that provided in ‘A voyage
round Great Britain’ undertaken by the artist
William Daniell, and his colleague Richard
Ayton, who wrote much of the text to
accompany Daniell’s illustrations. Starting in
1814 Daniell and Ayton toured the coastline
of Great Britain, producing 308 delicate
aquatints over an eleven year period. The
Welsh part of their voyage started on the
south coast and continued northwards,
to include Anglesey, and along the north
coast, before proceeding to Lancashire and
into Scotland.
Daniell in 1814. The most
recent fall took place
in 1993.
Alongside Daniell’s wonderful aquatints
Ayton provided detailed descriptions; his
interest in the coastline itself, its geology and
processes is evident from the text. For
example, at St Donat’s in Glamorganshire
he states “the coast at St Donat’s is low and
tame, but about a league further to the
westward it assumes a bolder character,
and continues for a few miles
in a range of cliffs, perhaps not exceeding 80
feet in height, but remarkable for some
curious excavations formed by the action
of the sea, in some of which the rocks
are fretted into a most perplexing variety
of fantastic configurations, and in others
disposed into such formal combinations,
with such a singular correspondence of
parts, that they look more like the work
of art than a thing of nature” (Daniell
& Ayton, 18143).
Further westwards he describes the coastline
in the vicinity of The Mumbles at Swansea
Bay. “The shore immediately about The
Mumbles, and for some distance both to
the westward and northward of it, is strewn
with large fragments of rock, the certain
memorials of encroachments by the sea,
and it is said that a great extent of land has
been swallowed up between this point and
the opposite side of the bay”. Ayton also
observes “that the shores of Swansea Bay
have suffered greatly by the encroachment
of the sea, at no very distant period, is
extremely obvious. A wide extent of forest
land now lies buried beneath its sands”.
At Oxwich Bay a major rockfall occurred
in 1993. Daniell and Ayton also noted this
process where “when we stood at the
extremity of the cliffs near the sea, we could
at the same time see the shattered front
of the cliffs, the vast bits of rock were laid
open on all sides to us and formed a sea
of ruin that was perfectly sublime” (Daniell
& Ayton, 18143).
Daniell and Ayton also commented on
conditions offshore and in the waters through
which they sailed. For example, in the Menai
Straits they state that “the Island of Anglesey
is separated from Caernarvonshire by
a sound, called the Menai; the entrance
of which, at this southern extremity, is
obstructed by long banks of sand, which
make it extremely dangerous.” Such a
sandbank is visible in the detailed painting
by the Pre-Raphaelite artist, John Brett, in
the National Museum of Wales entitled ‘The
stronghold of the Seison and the camp of
the Kittywake’ (1879), where the birds are
roosting on a sandbank in the foreground
of the picture.
The scenery in the vicinity of Beaumaris was
much admired by Daniell and Ayton. “Vessels
of the largest burden may navigate the
channel at all periods of the tide, the depth
of water being never less than seven
fathoms; but the space between its eastern
border and the Caernarvonshire shore
www.thecrownestate.co.uk Marine research report 23
24 Marine research report www.thecrownestate.co.uk
Figure 1.4:
A panoramic view across
the Menai Straits towards
Caernarfon Castle by John
Brett painted in oils in
1879. Pre-Raphaelite
artists such as Brett were
often able to produce
finely detailed works
despite working in oils
rather than watercolour.
becomes at half ebb a great plain of sand,
called the Lavan Sands, or Wylofaen, the
‘Place of weeping’, from the lamentations
of those who were overwhelmed or who
saw their houses and lands overwhelmed
by the sea. On the shore at Beaumaris, the
sea has evidently, at some period, conceded
something to the land, the Green being
merely a bed of beach with a thin turf spread
over it. At the southern extremity of the town
is Ormond’s Point, a similar kind of bank,
projecting into the Strait, though not covered
with earth; but these formations must have
existed prior to the great inundation, for the
sea is now obviously encroaching upon the
Anglesey coast of the bay, and, according
to ancient records the marsh on which
Beaumaris is built, and from which it takes
its name, was formerly of much greater
extent than the present and covered with
fine bullrushes. Between the Green and
Ormond’s Point the sea flows up to the very
walls of the town” (Daniell & Ayton, 18143).
Figure 1.5:
Daniell produced views
of several of the Welsh
castles as he travelled
up the coast from south
to north. His view of
Beaumaris Castle on
Anglesey suggests active
erosion taking place in
the foreground.
Along the North Wales coast Ayton
comments “it is very evident from the
present aspect of the Welsh coast, from its
deep indentations, the frequency of long
narrow promontories, and the numerous
small islands scattered about it, and, still
more directly, from the occurrence of large
tracks of loamy soil and of peat moss,
extending far from the shore, that the sea
has made great advances both upon its
western and northern fronts. There can be
little doubt that the sands which border the
coasts of Merioneth and Caernarvonshire
were once forests or cultivated land,
forming extensive plains at the base of the
mountains behind. These plains are now
reduced to narrow strips, which the sea still
continues to encroach upon, and will, in the
course of time, swallow up and meet an
effectual barrier in the mountains against its
further progress” (Daniell & Ayton, 18143).
Towards the completion of their voyage
around the Welsh coast Daniell and Ayton
passed along the seaward side of Penmaen
Mawr. They noted that “the whole western
front of the mountain strikes down to the
sea with a very rapid descent, and the great
mass of bare rock which forms the summit
is, on the seaward side, quite perpendicular.
There is very little vegetation on this front,
almost the whole surface being covered
with loose stones, amongst which are many
huge fragments, some lying in very alarming
positions. Two of these, of immense size,
not far above the road, had low walls built
under them for their support, but so slight
that they serve rather to point out the danger
than to give assurance of being guarded
against. In the solid rock I observed the
marks of recent falls, and in various parts
of the wall there were considerable breaches
made by large stones precipitated from the
steep cliff above.”
Further to the east they visited the ‘little
village of Llandudno’. “We left our horses
and proceeded by the shore along the south
side of the promontory and came to Gogarth,
the ruins of a monastery, which was annexed
to the Abbey of Conway. Enough of the
edifice remains to show that it was large and
strongly built, but we could discover nothing
more about it. It stands close to the shore,
and some parts of it have been washed
away by the sea.” Further east at Abergeleu
(sic) they noted that the village “stands on
the skirts of a large track of level land, called
Rhuddlan Marsh, supposed to have been
formerly of much greater extent, and reduce
by the depredations of the sea. The advance
of the sea is attested by an epitaph in the
churchyard of the village, which has neither
name nor date, but simply records that in the
churchyard lies a man who lived three miles
to the northward of it; and if this assertion be
true, the sea must have advanced two miles
upon the land”. (Daniell & Ayton, 18143)
A particular anxiety for those involved with
coastal risk management in Wales has been
flooding by the sea. In February 1990 the
community of Towyn was affected by a
catastrophic combination of high tides and
extreme weather events that inundated the
sea defences and led to the evacuation of
more than 2,000 residents from their
homes, as well as affecting businesses. The
coastline between Pensarn and Kinmel Bay,
a low-lying area, was particularly affected.
At the same time parts of the seaside town
of Rhyl were flooded, as was Prestatyn. The
www.thecrownestate.co.uk Marine research report 25
26 Marine research report www.thecrownestate.co.uk
Figure 1.6:
This dramatic scene at
Flint Castle, North Wales,
village of Ffynnongroyw in north-east Wales
saw the evacuation of twenty properties
after the seawall partly collapsed.
by Thomas Girtin (based
on a drawing by Samuel
Prout) c.1820 illustrates
a ‘Picturesque’ seascape.
The artist was less
concerned with
topographical accuracy
and more with describing
the drama of the
stormy coast.
Figure 1.7:
‘On the Welsh coast
near Towyn’ by Benjamin
Williams Leader. Oil on
canvas. 1917.
The Towyn flooding disaster led to demands
for a reappraisal of the need for flood and
coastal defences in England and Wales
following a House of Commons Select
Committee Inquiry. Flooding still remains
a significant concern to Welsh coastal
communities. The community of Newgale
in Pembrokeshire saw the loss of one
property after a storm in 1993, whilst, more
recently, Conwy and Ceredigion were affected
by coastal storms on 31st March 2010.
These storms resulted in the flooding of
properties in Llanfairfechan and Llanddulas
and overtopping of the inner harbour wall
at Aberaeron.
Severe weather conditions and natural
processes of cliff and slope weathering
and erosion have also led to slope instability
problems in recent years. At Nefyn on the
Lleyn Peninsula a landslide occurred on 2nd
January 2001; sliding swept two cars from
a viewpoint car park over the cliff and onto
the beach after a prolonged period of heavy
rain resulting in one fatality. In Oxwich Bay
on the Gower Peninsula, a rock fall occurred
after a prolonged period of freezing
temperatures and high rainfall. In October
2011 a major cliff failure at Porthkerry, Barry,
on the Glamorgan coast, occurred in the
evening along a 160 metre frontage, posing
a risk to a number of caravan owners whose
cliff top residences were left perched on the
edge of the cliff.
Such events clearly demonstrate that
the coastal zone is an area that is naturally
dynamic and prone to changes over time
and geographical extent. The factors which
result in coastal change do not always
operate at the same frequency and some
factors are more intense than others.
Understanding how the coastline may
respond to change in terms of the rate of
erosion, landsliding and other factors may
depend on certain thresholds being
exceeded followed by periods of relative
tranquillity until another threshold is exceeded.
Some of these factors, which lead to more
dramatic coastal changes, may have,
therefore, been influenced by activities in
past decades, whilst others may have swift
reactions. All this emphasises the need for
particular care to be taken when examining
coastal processes and the need to draw
evidence from longer term experiences,
where possible, rather than making decisions
based upon data derived from a short time
frame. An understanding of the processes
at work around the coast is, therefore,
fundamental to effective risk management
(Hosking, et al., 20014; Halcrow, 20025).
The challenges of climate change around the
Welsh coast have been emphasised by the
National Trust, which owns one sixth of the
coastline of Wales. The Trust is working on
the assumption of a one metre sea level rise
by the year 2100 for most of its coastal
properties. In 2007 the Trust published a
strategy document entitled ‘Shifting Shores’
(National Trust, 20056) which set out policy
proposals that plan for ‘a future of advancing
seas’. The Trust warned that in Wales sixty-six
coastal sites covering some 1,572 hectares
were at risk of flooding in the next 100 years.
Internationally recognised sites which could
be under threat included the Stackpole
Estate in Pembrokeshire, Cemlyn Lagoon
on Anglesey – an important wildlife site,
as well as dune systems on the Gower
Peninsula near Swansea and historic sea
forts such as Dinas Dinlle in Gwynedd.
Furthermore, increased coastal erosion is
likely to affect two of the National Trust’s
land holdings at Porth Dinllaen in North
Wales and Rhossili in the south. The Trust
has highlighted that erosion is already taking
place at Rhossili’s famous three mile beach,
and erosion of the surrounding cliffs is leading
to landslides and rock falls. The erosion at
Rhossili is also endangering an abandoned
and sand-covered village that dates back
to medieval times.
The Welsh Government regards the National
Trust study as being consistent with its
wider coastal policy. Such issues are being
addressed by the Welsh Government’s plans
for adapting to climate change, for which
legislation is being developed. The
government is, in fact, committed
www.thecrownestate.co.uk Marine research report 27
28 Marine research report www.thecrownestate.co.uk
Figure 1.8:
Rhossili Beach,
Pembrokeshire. Although
beach levels appear to
have remained healthy
over the last century rising
sea levels and increased
wave scour may result in
beach lowering over the
next century.
Figure 1.9:
‘Rhyl from the sea’; a
lithograph c.1850. In the
mid-nineteenth century
the Victorians developed
the resorts of Aberystwyth,
Llandudno and Rhyl to
cater for the growing
numbers of visitors.
to the overarching principle of sustainable
development as the centre of all activities
and decision-making by the government
and devolved bodies in Wales (Welsh
Government, 20117). The risks arising
from coastal change have been highlighted
through the launch of a ‘National strategy
for flood and coastal erosion risk
management’ in 2011 (Welsh Government,
20117). The aim of the strategy includes
reducing the consequences for coastal
residents and businesses of flooding and
coastal erosion, as well as raising awareness
amongst coastal stakeholders of potentially
increasing levels of risk. The strategy has
supported coast protection as well as flood
relief schemes such as that at Borth,
Ceredigion, which protects over 400
properties and businesses for the future.
Most developments around the Welsh
coastline do benefit from coast protection
or flood defences. Along the coastline of
South Wales these comprise a mixture of
local authority coastal defences and privately
defended frontages; particularly in
Carmarthenshire and south Pembrokeshire
there are frontages where dunes act as a
form of defence. Around the remainder of
the Pembrokeshire coast northwards into
Ceredigion there are more scattered local
authority coastal defences, whilst, at the
mouths of rivers, for example north of
Aberystwyth to the Lleyn Peninsula, there
are a mixture of public and privately owned
defences acting particularly as defences
against coastal flooding. North of Barmouth,
along some frontages dunes again act as
a natural form of coastal defence. On the
Lleyn Peninsula the south side is well
defended, with scattered defences on the
north coast, whilst the Menai Straits has
extensive private defences. The coastline
of Anglesey also benefits from a mixture
of public and private defences, these being
more scattered; whilst east of Bangor, along
the whole of the north coastline into Flintshire,
there are extensive defences protecting the
coastal resorts and communities.
Coastal defences in Wales not only protect
people and property but also parts of the
rail network and coastal highways. The
rugged geography and its historic
settlement patterns have resulted in a
significant length of the rail network (over
150km) being routed next to the coast,
for example from Tywyn northwards, past
Barmouth and Harlech, and along the Lleyn
Peninsula through Criccieth to Pwllheli.
Coastal railways have the potential to
constrain sites designated as of environmental
importance by preventing their landward
migration inland in response to rising sea
levels. Coastal railways, and some highways,
can, therefore, contribute to what has
become known as ‘coastal squeeze’
(Pennington, 20118).
The Welsh Government has continued
to support the preparation of shoreline
management plans for the whole of its
coastline. These plans, which are developed
by ‘Coastal Groups’ of local authorities and
others interested in sustainable coastal risk
management, address factors including the
geological structure and evolution of the
coast, natural processes, the land use in the
area, development plans, flood and erosion
risks, and the proposed management
strategy for defence of the coast where that
is deemed appropriate. Plans cover the
frontage from Anchor Head, on the north
Somerset coast, around the mouth of the
Severn to Lavernock Point in Monmouthshire;
the frontage from Lavernock Point to St Ann’s
Head along the south Wales coast; in west
Wales from St Ann’s Head to the Great
Orme at Llandudno and, finally, eastwards
along the north Wales coast from Llandudno
to the English boundary, and on up the
English north-west coast as far as the
Scottish border.
Whilst shoreline management plans
concentrate on coastal erosion and sea
flooding risks looking ahead over the next
100 years, ‘Catchment Flood Management
Plans’ provide the strategy for the
management of risk from fluvial flooding.
For example, within the North Wales
Catchment Flood Management Plan area
a significant population live in coastal towns
and villages, which may be affected to a
lesser or greater degree by fluvial flood risk,
including Bangor, Caernarfon, Pwllheli,
www.thecrownestate.co.uk Marine research report 29
Map of Wales showing the
Great Orme’s
Head
extent of the Shoreline
Management Plans (2nd
Llandudno
generation)
Great Orme’s Head
to Scotland
Bangor
Irish sea
St Ann’s Head to
Great Orme’s Head
Porthmadog
Lavernock Point
to St Ann’s Head
Barmouth
Anchor Head to
Lavernock Point
Aberystwyth
England
WALES
St Ann’s Head
Tenby
Swansea
Cardiff
Lavernock Point
Bristol Channel
30 Marine research report www.thecrownestate.co.uk
Figure 1.10:
Map of Wales showing
the extent of the Welsh
Shoreline Management
Plans (2nd Generation).
Porthmadog, Fairbourne and Borth. Coastal
communities may be affected by not just
flooding by the sea but also drainage down
to the coastal zones from the mountainous
hinterland (Environment Agency, 20109).
The impacts of climate change have
demanded a more strategic and proactive
approach to coastal risk management
in order to restore the sediment balance,
allocate space necessary to accommodate
natural erosion and coastal sedimentary
processes, and achieve a better
understanding of coastal evolution. By
incorporating coastal erosion hazards
and risk mapping into long-term plans
the Welsh Government and local authorities
can effectively divert new development from
areas of risk and seek to modify or reduce
risks in areas of existing developments,
thereby implementing a more sustainable
coastal management framework.
Recently a more strategic approach to
monitoring the coastline is proving particularly
beneficial. Whilst some areas of the Welsh
coast such as the Gwynedd frontage have
benefited from the gathering of monitoring
data over a considerable period (Pennington,
20118), many parts of the coastline across
the British Isles do not benefit from longterm monitoring data. As a result, the Wales
Coastal Monitoring Centre, which has
received financial support from the Welsh
Government, was established following
advice from the Wales Coastal Groups
Forum on the need to improve the coordination of coastal monitoring data and its
storage and analysis. This new project aims
to establish a framework necessary to
provide high quality information on coastal
change that will help to inform flood and
coastal risk management decision-making
(Pennington, 20118).
In addition to these new monitoring
approaches geologists, geographers and
archaeologists have, for nearly two hundred
years, provided evidence of coastal change.
These include the records of lost villages,
coastal structures such as forts, lighthouses,
churches and other historic buildings, as
well as important archaeological sites which
may have been constructed thousands
of years before. Some important historical
assets have been lost through coastal
erosion, whilst, elsewhere, sea ports and
developments have become stranded from
the coast following the accretion of extensive
mudflats, saltmarshes or sand dunes, such
as those at Harlech.
It is clear from the evidence of coastal change
in Wales, described above, that all possible
resources should be used in order to help
inform us of coastal change. In addition to
the scientific tools and archaeological data,
works of art represent a further potentially
valuable and currently under-used resource
that can assist in filling gaps in our
understanding, extending back over the last
two hundred years. However, such artworks
will only be of practical value if it can be
demonstrated that the depictions are realistic
in terms of their representation of conditions
at the time rather than images which do not
reflect reality. The process of developing an
approach to determine how historical images
can support understanding of coastal
change is described in Chapter Three.
www.thecrownestate.co.uk Marine research report 31
32 Marine research report www.thecrownestate.co.uk
Figure 1.11:
References
The point of Ayr
Lighthouse, Talacre Beach
1.Ramsay, A. C; Salter, J. W. & Etheridge, R.,
5.Halcrow, 2002. ‘Futurecoast Project’. Report
on the North Wales coast
1881. ‘The Geology of North Wales’. Memoir
(see also Case Study 2
of the Geological Survey of Great Britain.
– page 83).
for Defra. Swindon.
6.National Trust, 2005. ‘Shifting shores – Living
London. HMSO.
with a Changing Coastline’.
2.Howells, M. F. 2007. ‘British Regional Geology
– Wales’. BGS, Keyworth, Nottingham. ISBN:
0 85272 584 9.
7.Welsh Government, 2011. ‘National Strategy
for Flood and Coastal Erosion Risk
Management’.
3.Daniell, W. & Ayton, R., 1814. ‘A Voyage
8.Pennington, L., 2011. ‘First Annual Report
Round Great Britain’. Private Press. London.
4.Hosking, A. & Moore, R., 2001. ‘Preparing for
– Wales Coastal Monitoring Centre’. Gwynedd.
9.Environment Agency, 2010. ‘North-West
the Impacts of Climate Change on the Coast’.
Wales Catchment Flood Management Plan’.
Report for SCOPAC. Swindon.
Summary Report.
Figure 1.12a (LEFT):
Solva, Pembrokeshire.
Figure 1.12B (RIGHT):
‘Solva near St David’s,
Pembrokeshire’.
William Daniell, 1815.
www.thecrownestate.co.uk Marine research report 33
2
34 Marine research report www.thecrownestate.co.uk
How can historical
resources assist
in understanding
coastal change?
Figure 2.1:
2.1Introduction
‘Aberdovey’ an early
twentieth century
impressionist watercolour
drawing by Robert Fowler
for ‘Beautiful Wales’
published by A. & C. Black
in 1905.
The diverse geological exposures around
the Welsh coast, and the physical processes
acting upon them, have resulted in the
formation of a coastline of enormous variety,
scenic beauty and interest. The geological
structure and history do, therefore, dictate
the present-day scenery of our coastal
zones. Since their formation geological
deposits have been eroded and weathered
over millions of years to create the coastal
landscape that we can enjoy today. Many
factors have led to the shaping of the Welsh
coastline. These include the changing rates
in sea level rise which, in some locations,
has been dramatic over the last 30,000
years. This, in turn, has influenced the
nature and the severity of coastal erosion,
a key factor in transforming the coastal
landscape. In the previous chapter it was
noted that monitoring of coastal change
has been limited to a relatively small number
of locations and also for only short time
spans. This chapter provides some examples
of how the use of art and historical images
has been applied in practice to support
coastal management.
2.2Examples of the usage of the art
record as a tool to support
understanding of long-term
coastal change
Whilst art and science have previously, and
especially since the nineteenth century,
been divided into two separate and wholly
unrelated worlds, today the links between
them seem increasingly apparent and can
be seen as complementary rather than
competing. Science is generally practised
according to four standard rules. First,
by obtaining data through observation or
measurement, second, patterns are sought,
leading thirdly to scientific theory; finally the
theory is tested so that the science can be
confirmed, rejected or approved.
Whilst works of art present a qualitative tool
it is true that historically both the disciplines
of science and art have raised curiosity
about the coastal landscapes and
environment. In some respects such links
are not new, for Leonardo da Vinci (14521519) combined the two disciplines in a
very effective way describing science
through artistic images with ‘a picture
replacing thousands of words’. Later the
Pre-Raphaelite Brotherhood of Artists
re-appraised the artistic culture of the time
and presented images, painted in the field,
in a different, more accurate style, which can
usually be relied upon as a true and faithful
reproduction in line with their ethos. Such an
approach is illustrated in magnificent detail in
the paintings of the Welsh coastline by John
Brett from the mid-to-late nineteenth century.
The use of works of art in this way to
support understanding of coastal change
can be broken down into two distinct
categories, namely technical usage and
educational usage (in its broadest context);
the authors’ findings demonstrate that art
is a valuable and under-used resource in
www.thecrownestate.co.uk Marine research report 35
36 Marine research report www.thecrownestate.co.uk
Figure 2.2
‘St Catherine’s Rock,
Tenby’ an example of an
early twentieth century
impressionist watercolour
drawing by Robert Fowler
for ‘Beautiful Wales’
published by A. & C. Black
both respects. Although limited, there are
some examples where art has proved a
valuable tool alongside other techniques
for providing more informed decisionmaking to assist successful coastal risk
management, as well as having wider
benefits in terms of achieving successful
integrated coastal zone management.
in 1905.
2.2.1. Technical Usage
Historically, engravings and landscape
paintings were used as a resource to
assist in explaining long-term coastal change
within a project which received financial
support from the European Union LIFE
Environment Programme entitled ‘Coastal
change, climate and instability’ (McInnes et
al., 20001). In this LIFE project a theme of
the work assessed how archaeological or
palaeo-environmental evidence could assist
understanding of long-term coastal change.
Various evidence was gathered in this
respect including a range of illustrations
from study areas within the United Kingdom,
France and Italy where paintings and
engravings provided an insight into the
changing coastal environments. The project
included the publication of non-technical
guidance where engravings and paintings
helped to explain to stakeholder audiences
how coastlines had changed, particularly
over the last two centuries.
Certainly across Europe, and internationally,
there are examples of technical papers that
have been published relating to physical
processes such as landsliding where use
has been made of early images particularly
paintings and engravings. For example, in
2004, the Standing Conference on Problems
Associated with the Coastline (SCOPAC),
a coastal network in central southern
England, published a ‘Non-technical guide
to coastal defence’ containing such images
(McInnes, 20042). The SCOPAC guide aimed
to provide information on relatively complex
topics including coastal evolution, European
environmental policy and climate change
in a format suitable for the non-specialist.
To assist this process, again a number of
paintings and engravings were used to
good effect. An updated version retitled
‘A non-technical guide to coastal risk
management’ was launched in April 2009
(McInnes, 20093). A further publication on
‘Cliff instability and erosion management
in Great Britain – good practice guide’
promoted the research sponsored by The
Crown Estate in this field (McInnes &
Moore, 20114). As well as raising interest
and awareness in respect of coastal risk
management issues, these guides were
also found to be of value to planners and
those involved with management of the
landscape, for example environmental
officers preparing ‘Area of Outstanding
Natural Beauty’ management plans, on
account of the contrast between the
landscapes and environments of the
eighteenth and nineteenth centuries
and those of the present day.
Between 2003 and 2006 the Isle of Wight
Centre for the Coastal Environment led a
trans-national coastal research project, called
‘Response’ (Responding to the risks from
climate change on the coast), (McInnes et al.,
20065). The study areas for the Response
project comprised coastal frontages in the
United Kingdom (central southern England
and the north-east coast of England), the
Mediterranean and Atlantic coasts of France
and the Adriatic coast of Italy. Throughout
this report usage was made of historical
images to illustrate the physical processes
of erosion and coastal instability over time.
Internationally, further related research
has included an assessment of the value
of the works by the Italian artists Canaletto
and Belloto in understanding changing
water levels in the city of Venice (Camuffo
et al., 20056), whilst the detailed geological
paintings of the Pre-Raphaelite artist, John
Brett, have allowed studies and comparisons
to be made of Alpine glaciers and landscapes
including glacial retreat (Drahos, 20097). A
more recent study has examined nineteenth
century depictions of important geological
sites in the USA (Drahos, 20128). In a related
science extensive use of paintings and
engravings was made to plot the history
of river engineering works in Switzerland
(Minor et al., 20049).
www.thecrownestate.co.uk Marine research report 37
38 Marine research report www.thecrownestate.co.uk
Figure 2.3
‘Pegwell Bay, Kent –
recollections of October
5th 1858’ by the PreRaphaelite artist William
Dyce. This painting in
the Tate Britain inspired
the concept for the various
art and coastal change
studies sponsored by
The Crown Estate.
Figure 2.4
‘The Undercliff at
Bonchurch, Isle of Wight’
by Edward William Cooke,
RA. Cooke was a prolific,
accurate painter of coastal
Sponsorship by The Crown Estate since
2008 has allowed the concept of art as
a tool to support understanding of coastal
change to be developed through three
publications. First, two regional studies
of the Hampshire and Isle of Wight coastlines
(McInnes, 200810) and of East Anglia
(McInnes & Stubbings, 201011) and, second,
‘A coastal historical resources guide for
England’ (McInnes & Stubbings, 201112).
The latter considered not just paintings but
a broad range of historical images including
photographs, sea charts and maps and
postcards, as well as literature accounts.
The application of art and other images to
assist coastal management in England has
proved to be of considerable benefit by
providing technical information in support
of our understanding of long-term coastal
change. This is all the more important on
account of the speeding up of coastal
change as a result of climate change, but
also in assisting awareness-raising with
respect to coastal landscapes and a wider
aesthetic appreciation by engineers,
planners and others working in coastal
zones. Furthermore, historical artworks
form images of the coast that local residents
are often familiar with, and which they trust.
Art does, therefore, form a valuable tool
when engaging with coastal communities
on subjects such as the need to adapt
to changing conditions on the coast.
views who, like John Brett,
held a particular interest
in geology and scenery
2.2.2. The use of art in education
on rocky coastlines.
Education, in its broadest sense, has used
historical images contained in national and
local collections for a number of years,
particularly in publications, information packs
and local guides. Nationally, works of art
have been used to illustrate books and
television programmes including, for example,
the television series ‘A Picture of Britain’
(Dimbleby, 200513), and ‘Britain’s Favourite
View’ (McDonald, 200714). Past television
series on Victorian artists and photographers
have also made full use of images to improve
understanding. Along the south coast of
England some good examples of this were
provided by Dorset County Council in the
preparation of their ‘Jurassic Coast Devon
and Dorset World Heritage Site application’
(Badman, 200015) which included lithographs
of landsliding and coastal processes by
Daniel Dunster, William Buckland and others.
More recently ‘BBC Coast’ has taken
advantage of historical images to explain
aspects of coastal change to great effect.
On the Isle of Wight the preparation of a
proposal for the establishment of the Isle
of Wight as a European GeoPark again made
use of historic illustrations in support of the
application (McInnes, 200716). In Suffolk and
Norfolk The Crown Estate has sponsored
a range of community engagement events
on themes surrounding art and the coast to
coincide with the launch of its report on ‘Art
as a tool in support of the understanding of
coastal change in East Anglia’ (McInnes &
Stubbings, 201011). The purpose of this new
publication for Wales is, therefore, to assist
those interested in a broad range of coastal
issues by providing a list of artists, artworks
and references, which, through their quality
can allow useful comparisons to be made
with the present day. A methodology for
preparing a shortlist of artists and their
works is described in the following chapter.
www.thecrownestate.co.uk Marine research report 39
40 Marine research report www.thecrownestate.co.uk
Figure 2.5:
References
‘Tenby from the South
Sands’. A mid-nineteenth
1.McInnes, R., Tomalin, D. & Jakeways,
century lithograph
J. 2000. ‘Coastal Change, Climate and
published by R. Mason
Instability’. Final report of the EU LIFE
of Tenby.
Environment project. Isle of Wight Centre
9.Minor, H-E. & Hager, W. H. (Eds.). 2004.
‘River Engineering in Switzerland’. Society
for the art of civil engineering. Zurich.
10.McInnes, R. 2008. ‘Art as a Tool to Assist
for the Coastal Environment. Ventnor.
Understanding of Coastal Change’. The
2.McInnes, R. 2004. ‘A Non-Technical Guide to
Coastal Defence’. Report for SCOPAC. Ventnor.
3.McInnes, R. 2009. ‘A Non-Technical Guide
Crown Estate. ISBN: 978-1-906410-08-7.
11.McInnes, R. & Stubbings, H. 2010. ‘Art as
a Tool in Support of the Understanding of
to Coastal Risk Management’. Report for
Coastal Change in East Anglia’. The Crown
SCOPAC.
Estate. ISBN: 978-1-906410-10-0.
4.McInnes, R. G. & Moore, R. 2011. ‘Cliff
12.McInnes, R. & Stubbings, H. 2011.
Instability and Erosion Management in Great
‘A Coastal Historical Resources Guide
Britain’. Halcrow. Birmingham.
for England’. The Crown Estate.
5.McInnes, R., Jakeways, J. & Fairbank, H. 2006.
‘Response – Responding to the Risks from
ISBN: 978-1-906410-19-3.
13.Dimbleby, D. 2005. ‘A Picture of Britain’.
Climate Change on the Coast’. Final report of
Bloomsbury Publishing PLC. London.
the EU LIFE Environment project. Isle of Wight
14.McDonald. Sir T. 2007. ‘Britain’s Favourite
Centre for the Coastal Environment. Ventnor.
View’. Cassell Illustrated. London.
6.Camuffo, D., Pagain, E. & Sturaro, G. 2005.
15.Badman, T. 2000. ‘Nomination of the Dorset
‘The Extraction of Venetian Sea-level Change
and East Devon Coast for Inclusion on the
from Paintings by Canaletto and Bellotto’. In
World Heritage List’. Dorset Coastal Forum.
Fletcher, C. & Spencer, T. (Eds.). Flooding and
Environmental challenges for Venice and its
Dorchester.
16.McInnes, R. 2007. ‘Report on the Proposed
Lagoon. Cambridge University Press.
Accreditation of the Isle of Wight as a
Cambridge. Pps 129-140.
European Geopark’. Report for Isle of Wight
7.Drahaos, A. 2009. ‘Brett’s Boulders’.
Geoscientist. Vol. 19.3.
Council. Centre for the Coastal Environment.
Ventnor.
8.Drahos, A. 2012. ‘The Art of the Sublime
– Geology and 19th century Landscape
Paintings’. The Geoscientist. Vol 22. No 6.
July 2012.
www.thecrownestate.co.uk Marine research report 41
3
Validating the accuracy
of historical artworks
of the Welsh Coast
3.1Introduction
Coastal engineers require both high quality
data and a thorough understanding of the
physical processes at work on the coast
as well as the effects of these processes
in terms of coastal change in order to
understand and manage their frontages.
Coastal monitoring provides an invaluable
data source for scientists and engineers
as well as providing information to assist
the design of coastal defence measures,
which can, as a result, be commissioned
with greater confidence in the efficiency of
the design. Future requirements for coastal
defence works can be predicted more
accurately using monitoring data, which
may change the risk management philosophy
from a reactive to a more pro-active one.
3.2 Taking advantage of ‘the wisdom
of hindsight’ and its contribution
to our understanding of longterm coastal change
In previous chapters it has been explained
why the sustainable management of coastal
zones will only be achieved effectively if a
thorough understanding exists of coastal
evolution and natural processes; particularly
in the context of the predicted impacts of
climate change and sea level rise. Mistakes
in the past, in terms of coastal planning
and management, have been made because
of a lack of baseline information. Alongside
the technical tools available for coastal
monitoring knowledge gaps can be filled
partially by the use of archaeological or
palaeo-environmental evidence as well
as art, photographs, maps and literature
42 Marine research report www.thecrownestate.co.uk
accounts which allow recognition of the
nature, scale and rate of physical coastal
change to be considered and evaluated
over a much longer time-frame.
A project undertaken through the European
Union LIFE (L’Instrument Financier de
L’Environnement) Environment programme
entitled ‘Coastal change, climate and
instability’ (McInnes et al., 20001) revealed
a rich, well-preserved heritage and palaeoenvironmental archive within Europe’s
coastal and intertidal zones, which can
be interrogated to inform coastal risk
management and coastal planning more
widely. In fact, the coastal zones and
estuary mouths of Europe contain a rich
archaeological heritage, which, if examined
appropriately, can provide additional advice
on coastal evolution and can help to explain
responses to past climatic change.
Experiences from the past can, therefore,
support our understanding of the possible
impacts of coastal change in the future.
Welsh coastal oil paintings, watercolour
drawings, prints, photographs and postcards
of suitable quality and detail, offer immediate
advantages as tools for coastal managers
by providing a visual comparison between
the historical and present conditions.
They not only allow comparison of physical
changes over the centuries through a
comparative assessment of coastal erosion,
landslip, beach and shoreline alteration but
also variations in the coastal environment
reflecting changes in land management
practice as well as, from a social perspective,
the chronology of coastal development. An
evaluation of archived images and literature
accounts can also assist countryside
managers and ecologists in preparing coastal
landscape assessments as well as informing
planning officers involved in both spatial
planning and development control; for
example, in meeting the new requirement
to identify and designate ‘Coastal change
management areas’ (CLG, 20102).
The more frequent use of art as a resource
in these areas would also be beneficial in
encouraging a wider aesthetic appreciation
of our coastal zones by all those involved
in integrated coastal zone management –
engineers, planners and politicians.
3.3 The development of a
methodology for preparing a list
of Welsh artists and their works
In order to assess the relative importance
of works of art in terms of their value in
informing us of long-term coastal change
it was necessary, first, to develop a
methodology for categorising the artists
and their works in this respect; this was
achieved through the design of a ranking
system (see paragraph 3.4 below). Having
developed a ranking system and established
a comprehensive list of those artists that
painted the Welsh coast, it has been possible
to compile a shortlist of key Welsh artists
whose works are likely to prove most helpful
in terms of supporting coastal management.
The purpose of this Welsh study has been
to identify which artists illustrated the
coastline with the greatest topographical
accuracy between 1770 and 1920 and
thereby establish which of those artists
and their works make the most significant
contribution to our understanding of
long-term coastal change. Exhibits and
archived images contained in national and
local collections have been researched by
means of visits to the museums, libraries
and art galleries, including discussions
with the relevant experts, internet searches
and examination of a large number of
dictionaries, reference books and other
art sources. In addition, the Welsh
landscape is richly depicted in finely
illustrated books, many of which contain
aquatints, engravings, lithographs and other
images which have also contributed, in an
important way, to this study; a list of some
of the most relevant and helpful publications
in this respect can be found in Chapters 4,
5 and Appendix 1.
Having established the number of working
artists and the volume of paintings,
watercolours or prints they produced, it
was necessary to devise a system to assess
the value of the artistic works in terms of
assisting our understanding of coastal
change. The process of developing a ranking
system is described in the following section.
3.4 The development of a ranking
system for assessing the relative
value of Welsh artistic works in
assisting understanding of
long-term coastal change
As part of research undertaken for earlier
studies sponsored by The Crown Estate
(McInnes, 20083; McInnes & Stubbings,
20104, 20115), a methodology was
developed which allowed comparison of
the works of various artists and engravers
www.thecrownestate.co.uk Marine research report 43
44 Marine research report www.thecrownestate.co.uk
Figure 3.1 (LEFT):
‘A draw-net at Tenby’ by
J. C. Ibbetson , 1795.
in order to provide a shortlist of works that
could form a readily available resource for
users interested in supplementing their
knowledge of coastal change aided by art.
Picturesque Scenery, Marine/Yachting
subjects, Topographical/ Coastal Scenery,
and Topographical/Coastal Scenery with
Pre-Raphaelite influence.
The earlier research identified a number
of examples of ranking systems that have
been developed to assess the criteria that
can contribute towards assessments of the
quality of the natural landscape, of beaches
and the value of other tools, for example,
archaeology in terms of assessing coastal
and environmental change (Ergin et al., 20066;
Engstrom, 20067; McInnes et al., 20001).
In the opinion of the authors there are close
parallels between the previous use of
archaeology as a tool, and art, in respect
of the important contribution they can make
towards understanding our coasts.
The Caricaturist/Genre works include
those of artists such as Gilray, Cruickshank
and Rowlandson and others whose artistic
interest lay more in the human and social
subject matter rather than the topography,
which was essentially secondary in their
particular works (eg figure 3.1). Some
interesting historical features may be
found in this style of art (for example in
some of the works by Rowlandson) but
rarely, in the experience of the authors, is
there sufficient detail or accuracy to make
any significant contribution towards this
study. Taking account of this, a score
of 1 point out of 5 would be awarded to
an artist in this category.
Figure 3.2 (RIGHT):
‘Caernarvon’ by Thomas
Compton, 1820.
Figure 3.3
‘Shipping off Tenby’ by
Charles Bentley, 1838.
A key task of the European Union LIFE
Environment Programme (L’Instrument
Financier de L’Environnement) (McInnes
et al., 20001) was to identify and rank the
selected archaeological sites of potential
value to the study of coastal change. Through
this trans-national study a ranking system
was developed, which allowed useful
comparison with the aims of this study.
3.5 Ranking criteria for Welsh
coastal artists and their works
Following a similar approach to the LIFE
study, described above, parameters for
ranking the works of artists were developed
to suit the needs of the previous Crown
Estate studies. These have been reviewed in
the context of the Welsh artworks examined
and the ranking system has been deemed
suitable with minor modifications. Four
criteria have been identified against which
artistic works have been scored as follows:
3.5.1 Accuracy of artistic style
Varying artistic styles contribute, to a lesser
or greater degree, in terms of their portrayal
of the coastal landscape and environment.
Five style sub-categories have been
identified, namely: Caricaturist works,
The second category relates to the
Picturesque style favoured by those artists
and illustrators who were producing works
in the manner of the Italian landscapes
popularised by those taking the Grand
Tour. Often the Picturesque views, such
as those promoted by William Gilpin,
Thomas Walmesley and others comprised
aesthetically pleasing but sometimes
exaggerated or adjusted landscapes
with hillsides and cliffs appearing more
mountainous; the desire being to create
the local scenery in the manner of a
classical landscape (eg figure 3.2). Whilst
the Picturesque style is less concerned with
topographic accuracy, it can provide at
least some indicators of coastal conditions
at that time, which can be made use
of by the student of coastal research.
The proximity of development to the
coast, the nature of the coastal topography,
and the presence of watercourses and
other features, can inform coastal study
in a broad sense. For this reason, the
Picturesque works score 2 out of a
maximum of 5 points.
Marine and yachting paintings of coastal
shipping and craft can form a significant
component in terms of coastal art (eg figure
3.3). Many fishing and other shipping
www.thecrownestate.co.uk Marine research report 45
46 Marine research report www.thecrownestate.co.uk
Figure 3.4 (LEFT):
‘Eifl Hills, Caernarvon
Bay’ by John ‘Warwick’
Smith, 1790.
Figure 3.5 (RIGHT):
‘Forest Cove, Cardigan
Bay’ by John Brett 1882
Figure 3.6 (LEFT):
‘Aberconway Castle’ by
S. & N. Buck, 1824-38.
Figure 3.7 (RIGHT):
‘South Stack Lighthouse’
by John Brett, 1896
Figure 3.8:
‘Red Wharf Bay,
Anglesey’, 1815.
scenes include the coastal scenery as a
backdrop. Whilst those paintings which are
set further away from the coast are less
interesting, some works actually provide a
detailed topographical background. Taking
account of the contribution of these
paintings, a ranking of 3 points is provided
for this category
The fourth, and by far the largest category,
comprises Topographical or Coastal Scenery
Paintings, drawings and prints. This is a rich
resource and most of the Welsh coast is well
illustrated in this respect (eg figure 3.4). In
fact there is great interest in the coastal
towns and fishing villages located both on
the open coast as well as on the tidal
creeks and harbours. There are, therefore,
many works in this category that provide
indicators of coastal conditions at the time
they were painted and, therefore, such
works are awarded 4 points out of a
maximum score of 5.
The final category includes Topographic
and Coastal Scenery Paintings and drawings
which exhibit the influence of the PreRaphaelite style. Artists such as John Brett
(eg figure 3.5) have provided us with precise
images of the coastal scenery in the
mid-to-late nineteenth century. On account
of the detail and accuracy of these works,
which sought to depict nature in a very
exact manner, these are particularly
valuable as a resource and are, therefore,
awarded the maximum of 5 points out of 5.
3.5.2
Most advantageous medium
The second scoring category relates to the
most advantageous medium for illustrating
coastal change. This section comprises five
categories, namely Copper Plate Engravings,
Oil paintings, Oil paintings with a PreRaphaelite influence/ Aquatints/Steel
engravings, Lithographs, and Watercolour
Drawings and finally Watercolours with
a Pre-Raphaelite influence.
The early copper plate engravings were
not generally suitable for recording fine
detail and so they are allocated a score
of one point (eg figure 3.6).
Oil paintings are considered to be rather more
valuable as they generally provide a greater
level of detail as the other techniques. As a
result, oil paintings are ranked with 2 points
out of 6. Oil paintings by Pre-Raphaelite
artists (e.g. John Brett – see figure 3.7)
score more highly on account of their
precision and level of detail captured; these
artists score 3 points.
This view by Brett in oils demonstrates that
a higher level of detail could be achieved
in this medium by the Pre-Raphaelites and
a few other fine painters which is why such
works score 3 points.
Steel Engravings and Aquatints, some were
published individually or as sets, others
were contained in topographical books
in the Pre-Victorian period and throughout
the nineteenth century (eg figure 3.8). The
Welsh coast benefits from a very wide array
of such works including, for example, views
by Daniell, (Daniell & Ayton, 18148) and the
Finden Brothers (Finden, 18389). In view
of this rich resource 4 points out of a
maximum of 6 are awarded for this category.
Lithographers were able to obtain fine detail
through this process. There are excellent
lithographs of Tenby (see figure 3.9),
Aberystwyth, Llandudno (eg figure 3.13)
and Rhyl which provide information on
coastal geology, beach levels and defences.
As a result lithographs are given a score
of 5 points.
The second highest scoring category with
5 points is for Watercolour Drawings. The
Welsh coast benefits also from an extensive
resource of fine detailed drawings (eg figure
3.10) which provide detailed information in
terms of cliff and slope geomorphology,
beach levels and profiles and coastal
environment conditions, as well as the
history of coastal development. Those
watercolours by Rre-Raphaelite artists
score the maximum of 6 points.
www.thecrownestate.co.uk Marine research report 47
48 Marine research report www.thecrownestate.co.uk
Figure 3.9:
‘Tenby from the North
3.5.3The value of the
subject matter
Shore’. Mid-nineteenth
century.
The third scoring category is the value of
subject matter in assisting our understanding
of coastal change. This category is of prime
importance and, therefore, has been
awarded a weighting factor of x2. There
are three categories as follows:
•General coastal views which contribute
to an overall appreciation of the
coastal geomorphology and landscape
character (eg figure 3.11); scores
1 point.
•The works provide a general view
of the beach, cliff and hinterland
including some appreciation of beach
slope and cliff detail (eg figure 3.12),
as well as information on land usage
and environmental conditions; scores
2 points.
•The highest scoring category provides a
detailed appreciation of shoreline levels,
beach profiles, cliff geology, vegetation
and coastal development (eg figure
3.13); scores 3 points.
Figure 3.10 (LEFT):
‘Three Cliffs Bay,
The Gower’ by Alfred
Parkman, 1910.
As a result, in this category a maximum of 6
points can be scored taking account of the
weighting factor.
Figure 3.11 (RIGHT):
‘Fishguard Bay (Goodic
3.5.4 Value of the time period
Sands)’ by John ‘Warwick’
Smith, 1797.
The fourth category represents the value
of the time period of the artist. Three time
periods have been identified as 1770-1840
(scores 1 point); 1840-1880 (scores 2 points)
and, finally, 1880-1920 (scores 3 points). The
rationale behind these scores is that the early
works are of less interest than the Victorian
landscapes contained in the second category,
which illustrate the coastline immediately
before the start of and through the Victorian
seaside development period. Whilst there
may be some information that can be gained
from works of the earlier period in terms
of the undeveloped coast, it is believed that
the works covering the period 1840-1880,
and even more so from 1880-1920, where
major coastal development and coastal
change is taking place, are of greater
significance. As a result, a maximum
of 3 points are awarded in this category
for the time period 1880-1920.
3.6Summary of ranking of
paintings, watercolours and
prints
Consideration was given to a further ranking
relating to the geographical coverage of
the artists, in other words whether the
artists painted the whole of the Welsh coast
or just part of it. However, having given the
issue further consideration it was recognised
that some artists might only paint in a
restricted locality but their works could
be extremely valuable and, therefore,
it was perhaps inappropriate to consider
the question of coverage. Furthermore,
some artists produced only one or two
works, whilst others were very prolific. In
summary the ranking comprises only the
following categories:
Figure 3.12 (LEFT):
‘Aberconway’ by Thomas
Compton, 1820.
Figure 3.13 (RIGHT):
‘Llandudno from The
Parade’. A lithograph
published by Day &
Sons, c.1850.
www.thecrownestate.co.uk Marine research report 49
50 Marine research report www.thecrownestate.co.uk
Figure 3.14 (LEFT):
‘Termination of the South
1. Accuracy of artistic style (maximum 5 points)
1.1
Caricaturist/Genre subjects
1 point
Norris from his ‘Etchings
1.2
Picturesque landscapes
2 points
of Tenby’, 1812. From the
1.3
Marine/Shipping subjects
3 points
first time period, this view
1.4
Topographical/beach and coastal scenery
4 points
1.5
Topographical/beach and coastal scenery with Pre-Raphaelite influence
5 points
Wall, Tenby’ by Charles
would score 1 point.
Figure 3.15 (RIGHT):
‘Llandudno from the hill
behind the baths’. A
lithograph by H. Hanhart
published c.1850 falls
2.Most advantageous medium for illustrating coastal change
(maximum 6 points)
2.1
Copper plate engravings
1 point
(Victorian) time period
2.2
Oil paintings
2 points
and would score 2 points.
2.3
Oil paintings by Pre-Raphaelites, steel plate engravings/Aquatints
3 points
2.4
Steel engravings and aquatints
4 points
2.5
Lithographs/Fine pencil and watercolour drawings
5 points
2.6
Watercolour drawings with Pre-Raphaelite influence
6 points
within the second
Figure 3.16:
‘Marine Terrace and
Castle, Criccieth’ by Alfred
Robert Quinton, c.1920.
This watercolour would fall
within the Edwardian and
later time period and
would score 3 points.
3.Value of the subject matter in supporting understanding of long-term
coastal change (weighting x2 and maximum score of 6 points)
3.1General coastal views which assist overall appreciation of the coastal
geomorphology and landscape character of the coastal zone
1 point
3.2General view of the beach, cliff, backshore and hinterland including
some appreciation of beach profile, cliff geology and structure
2 points
3.3Detailed appreciation of shoreline position, beach profile, geology,
geomorphology, coastal environment and coastal defences
3 points
4.Value of the time period (maximum of 3 points)
4.1
1770-1840 (early)
1 point
4.2
1840-1880 (Victorian coastal development period)
2 points
4.3
1880-1920 (Victorian/Edwardian coastal development period)
3 points
Compiling the scores for ranking artists and their works
1.
Accuracy of artistic style
Maximum
5 points
2.
Most advantageous medium
Maximum
6 points
3.
Value of subject matter
Maximum
6 points
4.
Value of the time period
Maximum
3 points
Total maximum score
20 points
www.thecrownestate.co.uk Marine research report 51
52 Marine research report www.thecrownestate.co.uk
Figure 3.17 (LEFT):
Photographs
‘A view of Tenby’, c.1880.
Figure 3.18 (RIGHT):
‘Barmouth from the
Island’ by Alfred Robert
Quinton, c.1930.
Unlike paintings, watercolour drawings,
and prints, photography results in an exact
depiction of the coastline. As a result a
validation process for photographs to
confirm their accuracy is not required. With
the first coastal photographs appearing in
the 1850s they were, thereafter, available
alongside artworks, offering interesting
comparisons and later succeeding them
as the most popular illustration medium.
However, paintings, watercolours and many
prints continued to offer the added value of
colour over black and white photography
for several more decades.
Figure 3.19 (LEFT):
Title page from ‘The
Postcards
North Cambrian
Mountains’ (1820).
Figure 3.20 (RIGHT):
‘Nooks and corners of
Pembrokeshire’ by H.
Thornhill Timmins, 1895.
In 1894 British publishers were granted
permission by the Royal Mail to manufacture
and distribute postcards, which could be
sent through the post. Early postcards often
included Welsh landscapes and coastal
resort views together with the seaside.
Some postcards consisted of black and
white photographs whilst others were
coloured. Later publishers, such as Salmon’s
of Sevenoaks, commissioned artists
including Alfred Robert Quinton, and others
to paint coastal scenes in watercolour,
which were produced as colour cards or to
illustrate books. The accuracy of these
illustrations can be ranked in the same way
as paintings, drawings and prints.
Historical literature accounts
The Welsh coastline has been well described
in literature accounts over the centuries. The
exploration of the Welsh landscape in the
late eighteenth century by artists and writers
searching for ‘Picturesque’ scenery, together
with the emerging interest in the natural and
earth sciences in the nineteenth century
resulted in many more publications. Natural
coastal processes and disasters such as
coastal erosion, landslips and flooding were
also frequently described.
During the late nineteenth and early
twentieth centuries a large number of local
guidebooks were published by local historians
or geographers such as H. Thornhill Timmins.
They were often illustrated with woodcuts
or finely finished pen and ink drawings.
www.thecrownestate.co.uk Marine research report 53
54 Marine research report www.thecrownestate.co.uk
Figure 3.21:
Maps and Sea Charts
‘A map of North Wales’
by John Cary, c.1787.
Early maps of the English coastal counties,
such as those by Speed and Blaeu from the
seventeenth century, cannot be relied upon
in terms of providing an accurate record of
coastal positions at the time. Despite this,
often by virtue of their simplicity, they can
assist understanding of the topography,
river systems and development patterns
of the area concerned.
Samuel Pepys, First Secretary to the
Admiralty in 1673, persuaded Charles II
in 1681 to appoint Captain Greenville Collins,
Hydrographer to the King, to carry out the
first real survey of Britain’s harbours and
coasts. During the eighteenth century, on
account of the number of shipwrecks, under
the direction of Sir Francis Beaford, a grid
survey of the British Isles was undertaken,
which charted the British coast.
established Society of Arts, which offered
an annual award for an accurate survey of
any English county; the prize was awarded
first for a map of the county of Devonshire
in 1765. Between 1765-1808 thirteen
county maps received RSA wards; the
maps were beautifully produced and
of a high cartographical standard.
In 1787 John Cary published smaller county
atlases, which were important as the coastline
and seaside became more developed and
popular. In 1801 the private map publishers
received competition from the Ordnance
Survey but for the first fifty years of its life
triangulation was the key task. The first One
Inch OS map was published in 1853.
Throughout the late eighteenth and
nineteenth centuries maps were nearly
always included in topographical
publications; some of these were very fine
and beautifully decorated with engravings.
The preparation of accurate maps was
encouraged, in 1759, by the newly
www.thecrownestate.co.uk Marine research report 55
Figure 3.22:
‘Tenby from the slopes’
by the prolific
watercolourist A. R.
Quinton (Fl. 1912-34). This
artist produced
views that are particularly
informative in respect of
the cliffs, foreshore, beach
levels, port and harbour
developments, sea walls
and groynes.
Figure 3.23:
‘Menai Straits’ by the
oil painter John Wilson
Carmichael. Ranked
sixteenth Carmichael was,
nevertheless, an important
recorder of coastal scenery
of the British Isles in the
mid-nineteenth century.
56 Marine research report www.thecrownestate.co.uk
Table 3.1: Ranking of Artists depicting Welsh Coastal Scenery
Value of
Subject
Matter
Time Period
Total
Artist Name
Accuracy
Most Advantageous
Medium
1.
Alfred Robert Quinton
4
5
6
3
18
2.
John Brett
5
4
6
2
17
3.
Day & Son*
4
5
6
2
17
4.
N. Hanhart*
4
5
6
2
17
5.
Joseph Murray Ince
4
5
6
2
17
6.
E. J. Maybery
4
5
6
2
17
7.
Henry Moore
4
5
6
2
17
8.
Newman & Co*
4
5
6
2
17
9.
C. F. Williams
4
5
6
2
17
10. William Daniell
4
5
6
1
16
11. John ‘Warwick’ Smith
4
5
6
1
16
12. David Cox Snr.
4
5
4
2
15
13. Benjamin Williams Leader
4
2
6
3
15
14. William Henry Bartlett
4
4
4
2
14
15. Alfred De Breanski
4
2
6
2
14
16. John Wilson Carmichael
4
2
6
2
14
17. Thomas Girtin
4
5
4
1
14
18. John Glover
4
5
4
1
14
19. Samuel H. Grimm
4
5
4
1
14
20. John Laporte
4
5
4
1
14
21. John Varley
4
5
4
1
14
22. Robert Fowler
4
5
4
1
14
23. Sir Rupert A. Kettle
4
5
2
2
13
24. Charles Millard
4
5
2
2
13
25. Alfred Parkman
4
5
2
2
13
26. Samuel Prout
4
5
2
2
13
27. Thomas Homer
2
5
4
1
12
28. Robert Marris
2
5
4
1
12
29. Henry Gastineau
4
2
4
1
11
30. Alfred Vickers
4
2
4
1
11
* Publisher (artist’s name unknown)
The list above comprises the thirty highest ranking artists from a review of 172 artists.
www.thecrownestate.co.uk Marine research report 57
58 Marine research report www.thecrownestate.co.uk
Figure 3.24:
References
Conwy Castle’ by
L. Gandy, 1820.
1McInnes, R., Tomalin, D. & Jakeways,
5McInnes, R. & Stubbings, H. 2011. ‘A Coastal
J. 2000. ‘Coastal Change, Climate and
Historical Resources Guide for England’. The
Instability’. Final report of the EU LIFE
Crown Estate. ISBN: 978-1-906410-19-3.
Environment project. IW Centre for the
6Ergin, A., Williams, A.T, & Micallaf, A. 2006.
Coastal Environment. Ventnor, Isle of Wight.
2DCLG. 2010. ‘PPS 25 Supplement:
‘Coastal Scenery: Appreciation and Evaluation’.
Journal of Coastal Research. 22 958-964.
Development and Coastal Change Practice
7Engstrom, W.N. 2006. ‘Nineteenth Century
Guide’. Crown Copyright.
Geomorphology of Southern California’.
3McInnes, R. 2008. ‘Art as a Tool to Assist
Journal of Coastal Research. 22 958-964.
Understanding of Coastal Change’. The
8Daniell, W. & Ayton, R. 1814. ‘A Voyage
Crown Estate. ISBN: 978-1-906410-08-7.
Round Great Britain’. Private Press. London.
4McInnes, R. & Stubbings, H. 2010. ‘Art
9Finden, E. & Finden, W. 1838. ‘Views of the
as a Tool in Support of the Understanding
Ports, Harbours and Watering Places of Great
of Coastal Change in East Anglia’. The Crown
Britain’. Virtue & Co. London.
Estate. ISBN: 978-1-906410-10-0.
www.thecrownestate.co.uk Marine research report 59
4
60 Marine research report www.thecrownestate.co.uk
A description of the
coastal art of Wales
1770-1920
Figure 4.1:
‘Oystermouth Castle’,
Swansea – a sketch by
Francis Place, 1678.
Figure 4.2:
The art history of Wales and the wider
British Isles has been described or listed
comprehensively by a number of eminent
authors (Williams, I, J., 19261; Hardie, 19662;
Mallalieu, 19763; Wilton, 19934; Wood,
19955; Joyner, 19976; Aliston et al., 19987;
Fairclough (Ed.), 20118). In fact some of the
earliest British coastal landscapes are those
of the Welsh coast drawn by Francis Place
(1647-1728) who, assisted by the artist and
etcher Wenceslaus Hollar, produced views
of Cardiff, Oystermouth and Tenby. These
fascinating and detailed pen and ink and
wash drawings pre-date, by over a century,
most of the coastal landscape paintings
found in other study locations (e.g. the East
Anglia coastline and that of Hampshire and
the Isle of Wight).
District, the Highlands of Scotland, the Isle
of Wight, and, importantly, his first journeys
to the Wye Valley and Snowdonia, brought
the aesthetic qualities of the British landscape
to the attention of a wider public.
Many of the early illustrations of the coastal
scenery of Wales appear in topographic
books from the second half of the eighteenth
century. However, it was the promotion of
the ‘Picturesque’ style, which evolved partly
as a reaction against the eighteenth century
trend of ‘Neo-classicism’ ( emphasising
formality, proportion and order) which led
to a change in artistic styles. On the Grand
Tour, which was so fashionable at the time,
English gentry had the opportunity to see
the works of artists such as Claude Lorraine
and Nicholas Poussin and the great sights
of Italy and Greece. Later, however,
particularly between 1793 and 1815, the
French Revolution and the Napoleonic Wars
curtailed travel throughout the continent.
This situation led to a search for picturesque
landscapes in the British Isles, encouraged
by William Gilpin, whose travels and
publications to some of the more remote
regions of the Kingdom including the Lake
The quality of the Welsh landscape
was further highlighted by the important
watercolourist Paul Sandby, whose works
brought its dramatic beauty to a much
wider audience. In fact views of Wales
played a key role in promoting the concept
of the ‘Picturesque’ with numerous works
being exhibited at major exhibitions such
as the Royal Academy. The establishment
of the Society of Painters in Watercolours
in 1804, to meet the increasing demand
for a separate exhibition for the works of
watercolour artists, allowed watercolourists
such as John Varley, Francis Towne and
Thomas Girtin to display their Welsh works.
Alongside the watercolour drawings painted
by such eminent artists, over one hundred
‘tours’ are estimated to have been made
and described through publications over
the period from the 1650s to the 1850s,
providing rich detail on the changing
scenery of the Welsh countryside and
Wealthy gentry, with time on their hands,
who might have previously been exploring
continental Europe, took a renewed interest
in the Welsh landscape, encouraged
perhaps after reading William Gilpin’s
description of his first picturesque tour of
Wales down the Wye Valley in the summer
of 1770. Rather like the great Welsh artist
Richard Wilson, Gilpin was less concerned
about the topographical accuracy of the
scene than with capturing the atmosphere
of a ‘picturesque landscape’ (Gilpin, 17819).
‘Briton Ferry’, near
Swansea, c.1800 by the
watercolourist Robert
Marris who was a nephewin-law of the artist Anthony
Devis. Briton Ferry
provided a link across the
River Neath and presented
a picturesque scene
drawn by many artists.
www.thecrownestate.co.uk Marine research report 61
62 Marine research report www.thecrownestate.co.uk
Figure 4.3:
‘Beaumaris Bay’ by
coastline over that time (Kenyon, in Alston,
et al., 19987).
Thomas Compton, c.1820.
Figure 4.4 (LEFT):
‘Bangor and Beaumaris
During the late eighteenth century and
early nineteenth century the scenery of Wales
was described by many authors including
Thomas Compton in his ‘The Northern
Cambrian Mountains; or, a tour through
North Wales: describing the scenery and
general characteristics of that romantic
country’ (Compton, 181710), ‘Tours in North
Wales’ by Thomas Pennant (Pennant,
181011), ‘The principal rivers of Wales
illustrated; consisting of a series of views from
the source of each river to its mouth’ (Wood,
J. G, 1811-181312), and ‘A picturesque
description of North Wales: embellished
with twenty select views from nature’
(M’Lean, 182313). Later, with increasing
Victorian seaside developments, the needs
of early tourists were met by numerous
authors who provided guidebooks
illustrated with steel plate engravings such
as those by Thomas Roscoe – ‘Wanderings
and Excursions in North Wales’ (Roscoe,
183614) and ‘Wanderings and Excursions
in South Wales; including the Scenery of
the River Wye’ (Roscoe, 183615). A more
detailed description of the tourist in Wales
has been eloquently described by Kenyon
(in Alston, et al., 19987).
Bay’ by John La Porte.
Figure 4.5 (RIGHT):
‘Milford looking to it
from the high ground near
Hakim’ by John ‘Warwick’
Smith, c.1790s.
Artists from the seventeenth and early
eighteenth centuries, for example Francis
Place, used watercolour in a very limited
way, combining pen and ink with coloured
washes to record the landscape in highly
topographically accurate terms. It was not
until the second half of the eighteenth
century that artists began to discover the
wider possibilities of the landscape (Barron,
in Alston, et al. 19987). A new approach
to depiction of the Welsh landscape was
pioneered by the Welshman Richard
Wilson, who had been strongly influenced
through working in Italy and who was noted
for both his Italian and Welsh landscape
paintings. Such works of the Welsh
landscape, often depicted in the manner
of the Italian campagna, appealed to the
wealthy clientele of artists such as Wilson
and his pupil, Thomas Jones (1742-1803).
It is interesting to note that one of Wilson’s
pupils, Joseph Farington, remarked “Wilson,
when he painted views seldom adhered to
the scene as it was”, instead interpreting
the landscape through the eyes of Italian
artists such as Salvator Rosa and others.
The particular interest generated in the
Welsh landscape by early writers and artists
led many of Britain’s leading watercolourists
and painters to Wales. John ‘Warwick’ Smith
(1749-1831) painted ‘A distant view of the
Eifl Hills’ showing Penmaen Mawr, whilst
both Thomas Girtin (1775-1802) and Samuel
Hieronymous Grimm (1733-1794) painted
Caernarfon Castle. Grimm also painted a
delicate view of Briton Ferry, Glamorganshire,
a favoured viewpoint for many artists passing
along the South Wales coast. Other
important artists including Julius Caesar
Ibbetson, Anthony Vandyke Copley Fielding,
David Cox, and Thomas Rowlandson
visited and depicted the Welsh coast.
In addition to the works of the early
watercolourists, topographical views
of Wales were published in important
coastal tours of the British Isles as a whole.
One of the most significant publications
was ‘A Voyage Round Great Britain’ by
William Daniell and Richard Ayton (Daniell
& Ayton, 181416). The voyage commenced
in 1814 and took eleven years to complete
with Daniell’s Welsh views, delicate sepia
aquatints, being undertaken in the early years
of the voyage. Altogether Daniell produced
twenty-five views covering the coast of Wales
including the Island of Anglesey. Later, the
Finden brothers published their ‘Ports,
Harbours, Watering Places and Picturesque
Scenery of Great Britain’ (Finden, 183817),
which includes numerous steel engravings
of the Welsh coast, together with a detailed
accompanying descriptive account.
The artists of the late eighteenth and early
nineteenth centuries wished to explore the
picturesque scenery of Wales in its own
right, and undertook extensive walking or
riding tours covering all parts of the country.
However, they were also following in the
footsteps of their clients, wealthy gentry
who wished to not only explore the
landscape and historic sights around the
www.thecrownestate.co.uk Marine research report 63
64 Marine research report www.thecrownestate.co.uk
Figure 4.6 (LEFT):
‘Solva near St David’s,
Pembrokeshire’ by William
Daniell, 1814.
Figure 4.7 (RIGHT):
‘View of Conway Castle’
by William Daniell, 1815.
Figure 4.8 (top LEFT):
‘Goodwych Pier near
Fishguard, Pembrokeshire’
by William Daniell, 1815.
Figure 4.9
(bottom left):
‘View of Caernarvon
Castle from Anglesey’
by William Daniell, 1815.
Welsh coast for themselves but who also
wished to commission artists to produce
fine views to hang in their town houses and
country properties. Emerging artists residing
and exhibiting in London were receiving
training from their masters, who, without
doubt, knew each other and exchanged
views on the qualities of the Welsh landscape
and the opportunities the great castles
around the coast and the dramatic coastal
scenery provided in terms of subject matter
for their art.
J. M. W. Turner visited Wales no less than
five times in eight years in the 1790s. He
produced fine paintings of Harlech Castle,
Beaumaris, Caernarfon, Conwy and
Pembroke and many other subjects during
that time, often referring back to his original
drawings to produce further works in later
life. He was very impressed by the paintings
being produced by his friend, Richard Wilson,
who was strongly influenced by the artist
Salvator Rosa, whom Turner also admired.
Through the early-to-mid nineteenth century
further important artists came to the Welsh
coast; David Cox (1783-1859) painted ‘Rhyl
Sands’, whilst Joseph Murray Ince (18061859) painted the picturesque coastal town
of Tenby. Anthony Vandyke Copley Fielding
(1787-1855) produced a fine watercolour
of the ‘Rhuddlan Bridge’ in Flintshire in
1809. John La Porte (1761-1839) painted
Beaumaris and Bangor, a subject also
depicted in a very detailed watercolour by
John Glover (1767-1849). A further important
watercolourist, John Varley (1778-1842),
made his first journey to North Wales in the
company of the painter George Arnald in
1799. Varley was encouraged by Dr Thomas
Monro (1759-1833), a physician and
supporter of Turner and Girtin, to ‘sketch
from nature’ and gave him access to his
collection of watercolours, including
examples by these rising stars.
The work of Varley was the topic of
conversation at Dr Monro’s house in
November 1802, exactly a week before
Girtin’s death, when Joseph Farrington
records that “much was said about the
singularities of Varley, an ingenious young
man who had made drawings in Wales”.
Varley produced fine views of ‘Aberystwyth
Castle from the beach’ (1807), ‘Barmouth
from the beach’ (1813), ‘Caernarvon Castle’
(c. 1805), ‘Conway Castle’ (c. 1800), and
‘Harlech Castle and Snowdon’ (1803).
During the mid and late nineteenth century
topographic artists continued to paint the
coastline of Wales. In particular these artists
met the demand for pictures from visitors
to the expanding coastal resorts and villages
where they enjoyed the sea air and sea
bathing. The Finden brothers included fine
steel engravings of Cardiff and also Swansea
Bay in their publication ‘Ports and
Harbours’ (Finden, 183817). Of Swansea
they said “the reputation which Swansea
has long enjoyed as a delightful watering
place has suffered no diminution in
consequence of the numerous rivals with
which this coast is so agreeably diversified.
As bathing quarters, it enjoys peculiar
advantages in its shore, which is admirably
adapted for that purpose; whilst the adjacent
scenery and the various objects of interest
and curiosity with which it abounds, serve
as pleasing incentives to exercise and
recreation – the happy effects of which are
soon observable in the health and
appearance of invalids who make the choice
of Swansea as their summer residence”.
To cater for the growing numbers of visitors,
guidebooks illustrated with steel engravings
appeared in increasing numbers by the
middle of the nineteenth century. In addition
fine lithographic views were produced either
individually or sometimes in portfolios.
Publications by Roscoe, Catherall, and
later Rock and Co, contained steel
engravings of vignettes which provide a
chronology of coastal development and
expansion of the seaside towns. At the
same time important watercolourists and
painters in oils continue to visit the coast.
One of our finest watercolourists, Myles
Birket Foster, painted the picturesque
coastal town of Tenby as well as scenes
in North Wales; some of his sketch books
sold in his studio sale also contain pencil
drawings of Welsh scenery.
www.thecrownestate.co.uk Marine research report 65
66 Marine research report www.thecrownestate.co.uk
Figure 4.10 (LEFT):
‘Swansea Bay’ drawn
by William Henry Bartlett
and engraved by J. C.
Armytage for Finden’s
‘Ports and harbours of
Great Britain’ (1838).
Figure 4.11 (RIGHT):
‘The Frank B. Mason
family on Castle Beach,
Tenby’, 1908 by E. J.
Head. The Victorian’s
discovery of the seaside
let to rapid expansion of
small fishing villages into
thriving seaside resorts.
Figure 4.12:
‘Proud Giltar’ from
the beach at Lydstep
looking towards Giltar
Point with Caldey Island
in the distance by John
Brett, 1879.
One of the most influential artists of the
mid-nineteenth century with respect to
coastal landscape painting in Wales was
the Pre-Raphaelite artist John Brett (18301902). The Pre-Raphaelite Brotherhood
was a group of artists who wished to capture
nature in its precise detail and beauty, often
through painting out of doors. Famous
works by the Pre-Raphaelites can be found
in art galleries across Britain. The artist John
Brett is probably best known for paintings
such as ‘The Stone Breaker’ (1858) and
‘The Val D’Aosta’ (1859). However, Brett
clearly had a particular interest and affection
for the dramatic coastal landscapes of both
the west of England and Wales, although
he painted images of other parts of the
British Isles including East Anglia and the
Isle of Wight. His paintings are keenly
observed and depict the coastal cliffs of
Wales and the beaches in precise detail.
His paintings of the Welsh coast from the
1860s to the 1890s provide an invaluable
record for those interested in coastal
change over that time period (Southall,
Ed., 200118). Like other coastal topographic
painters such as Edward William Cooke RA,
Brett, no doubt, shared a keen interest in
geology, an emerging science that had seen
fundamental research being undertaken
both inland and on the coast in Wales in
terms of developing an understanding of
British stratigraphy. Whilst Brett’s paintings
tend to concentrate on the dramatic hard
rock coasts, they also show beach and cliff
face conditions which bear interesting
comparison with the present day.
The late nineteenth and early twentieth
centuries saw increasing numbers of colour
plate book illustrations to cater for the
growing numbers of coastal visitors, as
well as the introduction of colour picture
postcards by famous companies such
as Raphael Tuck, and J. & F. Salmon
of Sevenoaks in Kent. Book publishers
including A & C Black and Salmon’s
commissioned a range of artists including
Myles Birket Foster, Alfred Robert Quinton,
Ernest William Haslehust (1866-1949) and
others to produce attractive views that
could be illustrated as postcards or as book
illustrations. In 1905 A & C Black published
their ‘Beautiful Wales’, which was illustrated
with numerous colour plates by Robert
Fowler (Thomas & Fowler, c.190019).
www.thecrownestate.co.uk Marine research report 67
68 Marine research report www.thecrownestate.co.uk
Figure 4.13:
References
‘Rhosilly, The Gower,’
a watercolour by Alfred
1.Wiliiams, I. J. 1926. ‘A Catalogue of Welsh
Parkman, 1910. The
Topographic Prints’. National Museum
scene shows the wreck
of Wales. Cardiff.
of the Norwegian
vessel ‘Helvetia’ in the
foreground with the
Worm’s Head beyond.
10.Compton, T. 1817. ‘The Northern Cambrian
Mountains or a Tour through North Wales’.
11.Pennant, T. 1810. ‘Tours in North Wales’.
2.Hardie, M. 1966. ‘Watercolour Painting in
12.Wood, J. G. 1811-13. ‘The Principal Rivers
Britain’. 3 vols. Batsford. ISBN: 0-7134-0717-4.
3.Mallalieu, H. L. 1976. ‘The Dictionary of British
Watercolour Artists up to 1920’. Antique
‘Carnavon from Anglesey’
13.M’Lean, 1823. ‘A Picturesque Description
0-902028-48-0.
of North Wales’.
4.Wilton, A. 1993. ‘The Great Age of British
14.Roscoe, T. 1836. ‘Wanderings and Excursions
by Robert Fowler, early
Watercolours 1750-1880’. Royal Academy
twentieth century.
of Art. RA London and Prestel, Munich. ISBN:
in North Wales’.
0-7913-1254-5.
16.Daniell, W. & Ayton, R. 1814. ‘A Voyage
– Victorian Painters’. Antique Collectors’ Club.
Woodbridge. ISBN: 1-85149-172-4.
c.1740-c.1851’. National Library of Wales.
ISBN: 1 862250 03 0.
of Lower Town, Fishguard,
Ports, Harbours and Watering Places of Great
Britain’. Virtue & Co. London.
18.Southall (Ed.). 2001. ‘John Brett – A
7.Alston, D, Kenyon, J. R., Mackay, C. &
Pre-Raphaelite on the Shores of Wales’.
Pembrokeshire. The artist
Barron, K. 1998. ‘A Picturesque Tour through
John ‘Warwick’ Smith
Wales 1675-1855’. Watercolours from the
produced detailed
collection of the National Museums and
watercolour drawings
Galleries of Wales. National Museums and
depicting this part
Galleries of Wales.
of the Pembrokeshire
coast in the 1780s.
Round Great Britain’. Private Press. London.
17.Finden, E. & Finden, W. 1838. ‘Views of the
6.Joyner, P. 1997. ‘Artists in Wales
A present-day view
15.Roscoe, T. 1836. ‘Wanderings and Excursions
in South Wales’.
5.Wood, C. 1995. ‘Dictionary of British Art
Figure 4.15:
of Views from the Source of each River
to its Mouth’.
Collectors’ Club. Woodbridge. ISBN:
Figure 4.14:
of Wales Illustrated; Consisting of a Series
National Museum and Gallery, Cardiff. ISBN:
0-7200-0507-8.
19.Thomas, E. & Fowler, R. 1905. ‘Beautiful
Wales’. A. & C. Black. London.
8.Fairclough, O. (Ed.). 2011. ‘A Companion
Guide to the Welsh National Museum of Art’.
ISBN: 978-0-7200-0613-1.
9.Gilpin, 1. 1781. ‘Observations on the River
Wye and several parts of South Wales, etc.
relative chiefly to picturesque beauty, in two
Tours, the former made in 1769, the latter
in 1773’. London. 1809.
www.thecrownestate.co.uk Marine research report 69
5
The availability of art
resources to support
coastal management
Introduction
This study on ‘Art as a tool in support of the
understanding of coastal change in Wales’
required the review of historical works of art
– oil paintings, watercolour drawings and
prints of various kinds as well as old
photographs, maps, postcards and
historical literature accounts relating to
coastal change. There is a rich resource
of material held in national, regional and
local collections around the Welsh coast
that has the potential to support decisionmaking in coastal management. A key
research task has been, therefore, to retrieve
and collate the relevant artforms and provide
an explanation of their potential use as an
additional tool to assist understanding of
physical change on the coast, which can be
used alongside other existing measures and
approaches available to coastal managers
and other users. The applications of these
artworks are explained below together with
a summary of the resources available.
This report provides information on art
resources that would, generally, be less easy
to find, or more time consuming to access,
by individual coastal managers, scientists
and planning officers within local authorities
as, in most cases, some knowledge is
required of the artists of the coastal frontage
concerned as a starting point for searching
museum and other artists’ databases.
This report is not intended to provide
comprehensive information on artists and
their works, but it aims to raise awareness
of their potential applications in terms of
assisting understanding of coastal change,
and of where further information may be
obtained if required. There has been a
70 Marine research report www.thecrownestate.co.uk
significant improvement in both the quality
and availability of artistic data through on-line
databases and other catalogues over the last
three years but, despite this, it is a challenging
task to develop a comprehensive list of
accurate artistic depictions of the Welsh
coast, ensuring that only those works which
are most relevant and helpful in explaining
coastal change are included on the shortlist
of artists.
In terms of art the study has highlighted that,
in addition to original paintings and drawings,
many useful topographical illustrations can
be found in the late eighteenth and nineteenth
century topographical books. Some works
are of importance to the whole of the British
Isles, for example, ‘A voyage round Great
Britain’ by Daniell and Ayton (18141) includes
precise images of the study area coastline as
well as useful descriptions, as does ‘Views
of the ports, harbours and watering places
of Great Britain’ by the Finden Brothers
(18382). Throughout this report contemporary
accounts by artists and travellers have been
provided giving additional information on
the coastal conditions they actually observed
at the time, their text further supporting
the colour illustrations.
To establish the range of images and key
publications held in public collections that
relate to the coast a review has been
undertaken of the artworks, books, maps
and photographic collections held by the
principal collections both in Wales and
more widely in the United Kingdom. In
addition to public collections there are
certain important private collections, which
have also been reviewed where possible.
An assessment of relevant art contained
within the collections has been gained from
visits and meetings with museum and gallery
curators, from important art publications as
well as from searches of on-line databases.
The literature sources relating to oil paintings
and watercolours that were exhibited at the
principal exhibitions are comprehensive and
comprise reviews of the artists and their
works (e.g. Graves, 19013), together with
catalogues and dictionaries published by
the museums themselves or interested
publishers (e.g. The Antique Collectors
Club). The published works of this kind
do, therefore, represent a considerable
resource which has supported this study
(Wood, 19994; Russell, 19795; Archibald,
19806; Lambourne et al., 19807; Mallalieu,
19848; MacKenzie, 19879; Public Catalogues
Foundation (various dates)10). Further
information on some of the key resources
available to aid this research is provided in
Section 5.1 (below).
5.1 Searching the collections
The United Kingdom holds in its galleries
and civic buildings arguably the greatest
publicly-owned collection of oil paintings
in the world. 200,000 publicly-owned oil
paintings are held in institutions ranging
from museums, large and small, to town
halls, hospitals and even fire stations.
However, eighty per cent of these paintings
are not on view. Whilst many galleries make
strenuous efforts to display their collections,
many paintings across the country are held
in storage, usually because there are
insufficient funds and space to show them.
Furthermore, very few galleries have
created a complete photographic record
of their paintings let alone a comprehensive
illustrated catalogue of their collections.
The Public Catalogues Foundation (PCF)
was launched in 2003. It is a registered
charity and is based in London. It has a
network of researchers and photographers
working across the country from the
Channel Islands to Northern Ireland (http://
www.thepcf.org.uk/what_we_do).
Over the last few years the PCF has been
photographing oil paintings and collating
information about each painting. In doing this
it has been working closely with collections
across the United Kingdom. This project has
now been completed successfully.
Alongside its work online the PCF has
published a series of 46 hard copy
catalogues with thumbnail images of the
oil paintings in many public collections; a
further 40 volumes are planned. Online
access allows users to search paintings
by various criteria and view larger images,
whilst collections will be able to update
their painting records. Most importantly,
it gives the PCF’s work a much larger and
wider audience.
To achieve this aim, the PCF entered into a
partnership with the BBC to build the ‘Your
Paintings’ website (www.bbc.co.uk/
yourpaintings). Together the two
organisations are radically improving the
public’s awareness of the oil paintings they
own but, in most cases, cannot see; ‘Your
Paintings’ was launched in the summer of
2011. ‘Your Paintings’ will showcase the
entire national collection of 200,000
www.thecrownestate.co.uk Marine research report 71
72 Marine research report www.thecrownestate.co.uk
Figure 5.1:
‘Barmouth’ a steel
engraving, c.1860.
paintings from the 3,000 public collections
from across the United Kingdom. All Welsh
oil paintings in public collections have been
added to the ‘Your Paintings’ website.
It is recognised that, at present, the PCF
initiative just includes oil paintings and not
watercolour drawings and prints. To extend
the scope to cover drawings and prints
would be an enormous task but highly
desirable for the future. The two main
resources for coastal images of Wales are
the National Museum in Cardiff and the
National Library of Wales in Aberystwyth.
The National Museum Cardiff (Amgueddfa
Genedlaethol Caerdydd) is a museum and
art gallery in Cardiff. The museum is part of
the wider network of Amgueddfa Cymru
– National Museum Wales (formerly the
National Museums and Galleries of Wales)
(http://www.museumwales.ac.uk/
en/3357/). A collection of landscape
paintings in the classical tradition includes
works by Claude, Salvator Rosa and two
works by Nicolas Poussin. The collection
also illustrates the career of the Welsh-born
Richard Wilson, called ‘the father of British
landscape painting’. The art gallery has
works by all of the notable Welsh artists,
including landscapes by Richard Wilson
and the pioneering Thomas Jones, as well
as by the watercolour masters of landscape
painting from the eighteenth and nineteenth
centuries including Turner, Girtin, John
‘Warwick’ Smith and many others,
altogether comprising some 30,000
watercolours, drawings, prints and
photographs. The library in the Museum
holds an important collection of Welsh
topographical books, many illustrated with
aquatints, lithographs or engravings. For
the works of art it is possible to search for
artists on-line by artist or title of the work.
The National Library of Wales (Llyfrgell
Genedlaethol Cymru), Aberystwyth, is the
national legal deposit library of Wales; one
of the Welsh Government sponsored bodies
(see http://www.llgc.org.uk). The collection
includes books, maps, archives and
photographs as well as some 50,000 works
of art. Elsewhere in Wales images and books
are held in the County Council libraries and
Archives Departments as well as in excellent
city and town museums such as those at
Swansea, Tenby, Aberystwyth, Newport
and elsewhere; the Universities also hold
collections of material relevant to the coast.
Figure 5.2:
‘Rhyl’ – a steel
engraving, c.1860.
References
1.Daniell, W. & Ayton, R. 1814. ‘A Voyage
6.Archibald, E.H.H. 1980. ‘Dictionary of
Round Great Britain’. Private Press. London.
2.Finden, E. & Finden, W. 1838. ‘Views of the
Woodbridge.
Ports, Harbours and Watering Places of Great
Britain’. Virtue & Co. London.
have Exhibited Works at the Principal London
Exhibitions from 1760-1893’. Kingsmead
Topographical Prints’. David and Charles.
8.Mallalieu, H. 1984. ‘The Dictionary of British
Collector’s Club. Woodbridge.
4.Wood, C. 1999. ‘The Dictionary of Victorian
5.Russell, R. 1979. ‘Guide to British
Museum’. Crown Copyright. London.
Watercolourists up to 1920’. Antique
Press. Bath.
Club. Woodbridge.
7.Lambourne, L. & Hamilton, A.J. 1980. ‘British
Watercolours in the Victoria and Albert
3.Graves, A. 1901. ‘A Dictionary of Artists who
Painters’ (2nd Edition). Antique Collector’s
Sea Painters’. Antiques Collector’s Club.
9.MacKenzie, I. 1987. ‘British Prints’. Antique
Collector’s Club. Woodbridge.
10.Public Catalogues Foundation. Since 2005.
‘Oil Paintings in Public Ownership’ (Various
volumes). London.
Newton Abbot.
www.thecrownestate.co.uk Marine research report 73
6
Art and coastal
change – case studies
The purpose of the case studies provided
on the following pages is to illustrate how
historical artworks can inform coastal
managers, planning officers, countryside
officers, scientists and stakeholders more
widely of the potential of art, as a qualitative
tool, to support understanding of long-term
coastal change. In the nineteenth century,
in particular, there was great interest in the
emerging science of geology as well as
in the natural sciences. This interest was
reflected in the works of a number of
leading coastal artists such as John Brett
and other followers of the Pre-Raphaelite
Brotherhood. Art also provided the only
means of portraying the coastal scenery in
colour through the nineteenth and into the
twentieth century, prior to the introduction
of colour photography.
The discovery of the British coast and its
benefits for health as well as the popularity
of sea bathing meant, inevitably, that the
focus for many artists was coastal scenery
and beach scenes as well as the activities
74 Marine research report www.thecrownestate.co.uk
of fishermen, shipping, yachting and
shipwrecks. Victorian and Edwardian
visitors commissioned or wished to
purchase accurate depictions of the coast
to remind them of their holidays. As a result
much of the wealth of such oil paintings,
watercolour drawings and prints can inform
us of the physical and environmental
conditions existing at the time as well
as providing a chronology of coastal
developments such as the construction
of coastal defences, ports and harbours.
Case Study 1 – Art supporting
understanding of coastal geology
and geomorphology;
Case Study 2 – Art assisting comparison
of beach levels;
Case Study 3 – Art as an illustrator
of coastal defences chronology;
Case Study 4 – Art supporting
understanding of past coastal environments;
Case Study 5 – Art depicting development
on the coast.
Case study 1: Art supporting
understanding of coastal geology
and geomorphology
Figure 6.1.1:
This aquatint of
‘Penmaenmawr’, North
Wales by William Daniell
(1815) provides an overall
appreciation of the
geomorphology of the
coastal zone – the beach,
the backshore and the
hinterland. Often the
geology and structure,
which were later masked
by developments or as a
result of the cessation of
grazing which led to the
rapid growth of scrub and
tree cover, can be seen
clearly in such artworks.
www.thecrownestate.co.uk Marine research report 75
Figure 6.1.2 (TOP):
Figure 6.1.3 (bottom):
John Brett’s detailed coastal views of Wales depict the geology
This very detailed lithograph of the resort of
and beaches in a very precise way following the ethos of a
Llandudno, North Wales, c.1850, is taken from
‘Pre-Raphaelite landscape’. This oil painting shows the rock
The Parade and shows the coastal geology
formations at ‘Forest Cove’ (now called ‘Aberfforest’) in Cardigan
comprising Carboniferous Limestone very
Bay. It is possible to make direct comparisons of coastal change
clearly. The extent and form of the beach can
(for example in the case of beach levels), using Brett’s pictures.
also be observed.
76 Marine research report www.thecrownestate.co.uk
Figure 6.1.4 (TOP):
This view of the cliffs and
beach at ‘Caswell Gates’,
Pembrokeshire was painted
by John Brett in 1887.
The present day view is
shown below, see Figure
6.1.4a (upper CENTRE).
The cliffs are more vegetated
but beach levels remain
healthy. A rock revetment
now also protects property
in the bay itself.
Figure 6.1.5
(Lower CENTRE):
This second view of ‘White
Rock, Caswell’ by Brett
(1887) illustrates his attention
to geological detail. Taken
from the same spot as
Figure 6.1.4 but looking
eastwards Figure 6.1.5a
(BOTTOM) shows the
coastline remaining virtually
unchanged over the last
125 years
www.thecrownestate.co.uk Marine research report 77
Case study 2: Art assisting comparison of beach levels
Figure 6.2.1 (TOP):
The picturesque resort of
Tenby was painted by many
artists including the prolific
Alfred Robert Quinton. He
produced several views of
the town in the early twentieth
century. His views show
extensive exposures of
rock on the foreshore which
are not visible today
Figure 6.2.1a (Centre).
This illustrates how beach
levels have risen over time.
Figure 6.2.2
(Bottom left):
The beach levels of Tenby
South Beach (bottom right)
compare favourably with the
mid-nineteenth century
lithograph of the same spot
(bottom left). Although
beach levels here are subject
to post-storm fluctuations
overall change is limited
Figure 6.2.2a
(Bottom RIGHT).
78 Marine research report www.thecrownestate.co.uk
Figure 6.2.3
(top LEFT):
The lithograph of Llandudno
illustrates how the original
town was confined almost
entirely to areas that were
not at risk of flooding.
Natural beach levels appear
to have declined particularly
at the northern end of the
bay. A system of groynes
now help to control the
beach Figure 6.2.3a
(centre).
Figure 6.2.4
(bottom left):
Since the Victorian period
the beach levels at
Aberystwyth have been
controlled increasingly
by groynes as well as
periodic nourishment,
The Victorian defences
continue to protect
coastal assets
Figure 6.2.4a
(bottom right).
www.thecrownestate.co.uk Marine research report 79
Figure 6.2.5 (TOP):
This view of Criccieth, North
Wales (c.1925) shows an
eroding cliff in the lee of the
breakwater. Two properties
to the right were lost in the
storm of 1927. The beach
appears to have increased in
extent in the present day view
Figure 6.2.5a (CENTRE).
Works such as this and
Figure 6.2.6 (bottom)
by Alfred Robert Quinton
often include details
of beach shape and
composition as well the
nature of coast protection
structures.
Figure 6.2.6 (BOTTOM):
In this view by Quinton the
breakwater in the foreground
is encouraging the accretion
of beach material beneath
the castle. This view
illustrates the narrowing
of the beach in the centre
of the bay, which is still a
feature today, and the role
of the furthest groyne in
controlling the beach.
80 Marine research report www.thecrownestate.co.uk
Figure 6.2.7 (TOP):
This view of Barmouth
by J. G. Wood was drawn
in 1813 whilst
Figure 6.2.8 (CENTRE)
by C. F. Williams dates from
1849. The evolution of the
coast at Barmouth and the
mouth of the Mawddach
is of interest and concern
because of siltation of the
North Channel and within
the harbour itself. The
chronology of coastal
change is postulated in
the recently completed
Shoreline Management Plan.
This sequence of images of
Barmouth (see also overleaf)
can assist our understanding
of change along this part of
the North Wales coast.
Figure 6.2.9 (BOTTOM):
‘Barmouth from the Island’
by A. R. Quinton,
watercolour, c.1920.
www.thecrownestate.co.uk Marine research report 81
Figure 6.2.10 (TOP):
This fine detailed
watercolour by David Cox
(c.1840s) shows the extent
of the growing town of
Barmouth at that time.
The problem of wind-blown
sand and sediment accretion
was described by William
Daniell and Richard Ayton
in their tour of the Welsh
coast (1815), an issue that
still persists today. The
current extent of the dunes
and beach fronting the
town is illustrated in
Figure 6.2.10a (below).
82 Marine research report www.thecrownestate.co.uk
Figure 6.2.11 (TOP):
The watercolour of the
wreck of the ‘Helvetica’
(1887) on Rhosilli Beach
(Top) was painted by Alfred
Parkman in 1910. Today
the remains of the wreck
can still be seen in
the inter-tidal zone
Figure 6.2.11a
(UPPER CENTRE LEFT).
The photograph was taken
in the year 2002. The visible
presence of the wreck in the
same location after 130 years
suggests that there has been
little overall change in beach
levels over time. The National
Trust report ‘Shifting Shores’
(National Trust, 2005)
suggests that this beach,
Figure 6.2.11b
(UPPER CENTRE RIGHT),
may be seriously affected
by ‘coastal squeeze’ and
lowering over time against
the hard rock cliffs of
the backshore.
Figure 6.2.12
(LOWER CENTRE):
This view by William Daniell
(1815) of ‘The lighthouse on
Point of Air, Flintshire’ shows
the level of the Talacre
Beach around the foot of
the lighthouse at the mouth
of the Dee estuary. The
lighthouse was replaced
by Trinity House with a metal
pile structure in 1883
Figure 6.2.12a
(BOTTOM).
www.thecrownestate.co.uk Marine research report 83
Case study 3: Art as an illustrator of coastal
defences chronology
Figure 6.3.1 (TOP):
This simple watercolour
of Criccieth, North Wales,
by Alfred Waddington
(1835-1925) is interesting
in that it shows a vertical
timber revetment constructed
along the upper beach as a
rudimentary form of coastal
defence provided before the
seawall was constructed.
Figure 6.3.2 (CENTRE):
This view of Criccieth’s
West Bay shows the sea
wall and groyne field in
about 1920. The beach
appears more extensive
in the present day view
Figure 6.3.2a
(BOTTOM).
84 Marine research report www.thecrownestate.co.uk
Figure 6.3.3 (TOP):
Giltar headland to the
west of Tenby was painted
by Brett in fine detail (top).
Holiday developments in
the bay are now protected
by a rock revetment
Figure 6.3.3a
(Bottom).
www.thecrownestate.co.uk Marine research report 85
Case study 4: Art supporting understanding
of past coastal environments
Figure 6.4.1 (TOP):
This nineteenth century
watercolour, by an unknown
artist, of historic Laugharne
Castle on the Pembrokeshire
coast shows extensive
mudflats in the foreground.
Over the last 150 years the
area has become more
vegetated and stable
although remaining a very
natural environment
Figure 6.4.1a
(CENTRE).
Figure 6.4.2 (BOTTOM
LEFT) and 6.4.3
(BOTTOM right):
These delicate early twentieth
century watercolours by
Robert Fowler of The
Mumbles (bottom left) and
South Stack, Anglesey
(bottom right) illustrate the
outstanding natural beauty
and environmental quality
of extensive tracts of the
Welsh coastline.
86 Marine research report www.thecrownestate.co.uk
Figure 6.4.4 (TOP):
‘Puffin Island off Anglesey’
by William Daniell (1815).
Most nineteenth century
illustrated topographical
books contain chapters
describing in detail the
coastal environments and
species to be found. In this
view by Daniell the extent
of the bird population can
be readily appreciated. Other
artworks often illustrate, in
colour, coastal habitats with
readily identifiable tree, shrub
and plant species.
Figure 6.4.5 (BOTTOM):
This painting of ‘Anglesey
Sand Hills’ by the PreRaphaelite artist John Brett,
was completed in 1876. It
shows the coastal scenery
from the south-western tip
of Anglesey looking across
the mouth of the Menai
Straits. The view reflects
very much the conditions
that exist today although
the dunes are cut by bare
sand paths which may
indicate that the dune
system was more active
at that time.
www.thecrownestate.co.uk Marine research report 87
Case study 5: Art depicting development on the coast
Figure 6.5.1 (TOP):
The aquatints of William
Daniell provide us with
detailed views of both
the natural coastline as
well as the developing ports
and harbours in his ‘Voyage
round Great Britain’
(1814-25). Here he depicts
the ‘Entrance to Amlwch
Harbour, Anglesey’. At the
time the port was busy with
shipping exporting copper
ore from nearby Parys
Mountain, the largest
source in the world.
Figure 6.5.2 (CENTRE):
The finely drawn view by
C. F. Williams (1849) shows
the Cob at Porthmadog,
a thriving port for the export
of slate. The causeway now
carries the A4971. In contrast
to the view by Williams there
has since been significant
accretion on both sides
of the Cob with build up
of beach material on the
seaward side and the
development of saltmarsh
on the inland side
Figure 6.5.2a
(BOTTOM left)
and Figure 6.5.2b
(BOTTOM RIGHT).
88 Marine research report www.thecrownestate.co.uk
Figure 6.5.3 (TOP):
This view of ‘Bangor and
Beaumaris’ shows a scene
looking across the Menai
Straits with Beaumaris on
the far shore; Puffin Island
can be seen in the distance
(see also Figure 6.4.4).
This area was painted by
many artists including John
Varley and John Brett and
their works provide us with
a chronology of coastal
development along the
Straits over time.
Figures 6.5.4 (CENTRE)
and 6.5.5 (BOTTOM)
These works illustrate the
development of the ports
of Swansea and Cardiff
in the nineteenth century.
The aquatint of Swansea
shows the entrance to the
port, which is backed by
substantial waterfront
businesses and warehouses.
The view below, a woodcut
illustration from ‘The Graphic’
magazine of 1872, shows the
construction of the New Bute
Dock on Cardiff waterfront.
Popular magazines like ‘The
Graphic’ and the ‘Illustrated
London News’ commissioned
the best artists of the time
to produce very detailed
drawings of major Victorian
construction projects as
well as landscapes and
social events.
www.thecrownestate.co.uk Marine research report 89
7
Conclusions and
Recommendations
Introduction
The Welsh coast faces particular challenges
arising from the hazards of erosion, land
instability and flooding. The impacts of climate
change are speeding up these processes
and, together with sea level rise, will impose
increased risks to people, property and the
environment over the next century.
It is now widely agreed that sustainable
coastal policies should be founded upon a
thorough understanding of how the coastline
has evolved over time, taking advantage
of a long-term perspective to inform wise
decision-making. The need to adapt to
changing coastal conditions requires a range
of tools to support decision-making, for
example the monitoring of coastal change
using new technologies. However, coastal
monitoring is a relatively recent innovation:
aerial photography has only existed from
the 1940s and so other tools, for example
paintings, maps, photographs and literature
accounts, that can assist in understanding
coastal change over the last 200 years and
take advantage of ‘the wisdom of hindsight’,
are particularly valuable additional resources
that are available to the wide range of coastal
managers, planners and other users.
The Welsh coastline benefits from a rich
heritage of works of art comprising paintings,
drawings and various kinds of prints
produced or published, both individually,
or within illustrated topographical books
written since the late eighteenth century.
Alongside these are historical descriptions,
which provide accounts of the longstanding
problems of flooding and erosion that have
been faced by coastal communities.
A methodology has been developed for
assessing the relative value of works of art
in terms of their accuracy as a qualitative tool
90 Marine research report www.thecrownestate.co.uk
to support understanding of long-term
coastal change. The related research has
uncovered a rich resource of images and
accounts that can provide evidence of the
changing coast in an accurate, informative
and interesting way.
5.1Conclusions
We can conclude from the research in
support of preparation of this report that:
1.A rich resource of historical images,
maps and books in national, regional
and local galleries, museums, libraries,
archives and study centres present
a valuable additional tool to support
understanding of long-term coastal
change in Wales. In a number of locations
successive images are available which
allow comparison throughout the study
time period (1770-1920).
2.The Welsh artworks and literature
accounts demonstrate the scale and
rate of coastal change particularly over
the last 200 years. Marine erosion and
the influence of tides and currents are
by far the most influential factors in
shaping and altering the coast in the
long-term compared, for example,
to human intervention and coastal
development activities.
3.A ranking system has been developed
for Welsh art, which allows comparison
of the relative value of works of art in
terms of informing coastal change.
A shortlist of key artists together with
relevant information sources and archives
has also been prepared to assist use
of these resources by coastal managers,
planners, researchers and practitioners.
4.The Public Catalogue Foundation
County and gallery catalogues of
‘Oil Paintings in Public Ownership’
represent a growing, valuable resource.
It is recognised that preparation of
catalogues for watercolour drawings,
alongside oil paintings, would be a
major task. However, the authors believe
that this should be an aspiration,
supported by a pilot study.
5.The increasing availability of on-line art
databases, for example BBC’s ‘Your
Paintings’, many of which are being
steadily improved, form a new and
valuable resource. However, these
databases usually require researchers to
know the names of the artists who painted
the works that they wish to inspect. This
study can assist by providing a short-list
of the names of those artists who, in the
opinion of the authors, make the greatest
contribution to our understanding of
coastal change in Wales.
6.The preparation of this report has
been achieved successfully with the
considerable interest and support of
museums, galleries, local authority
curators and archivists, art historians
and private collectors; their contributions
are most gratefully acknowledged. The
study could not have been completed
without the support of The Crown Estate,
for which the authors are most grateful.
7.Paintings, watercolours and prints of the
Welsh coast have highlighted the role
that historical images may also fulfil in
supporting understanding of social and
environmental change. These aspects
merit further investigation.
5.2 Recommendations
1.Artworks and other historical images
relating to the Welsh coast, which are
held in national, regional and local
collections and archives, form a valuable
additional tool available to support wise,
sustainable decision-making on the coast,
as well as assisting the processes of
stakeholder consultation over adaptation
to coastal change. The availability of this
important and relatively under-used
resource should be highlighted nationally
to professionals in this field through
distribution of this report across Wales.
2.The art record provides a calibrated
timescale for coastal evolution and
change in Wales, which can be used
to support integrated coastal zone
management.
3.The results of this study and the new
report should be presented to users and
stakeholders around the coast of Wales
following publication of the report by
The Crown Estate.
4.A pilot study should be commissioned
to assess the issues surrounding the
preparation of a catalogue of watercolour
drawings in public collections in a
representative coastal location.
5.The role that artworks can fulfil
in illustrating social changes and
environmental/landscape change in the
British Isles over the last 200 years could
be usefully researched and the
preparation of further reports on these
topics be considered.
www.thecrownestate.co.uk Marine research report 91
Figure A.1:
‘The Mumbles Lighthouse
in Swansea Bay’ by William
Daniell (1815).
92 Marine research report www.thecrownestate.co.uk
Appendix 1 – Selected further reading
and reference books
Blake, J. 2005.
‘Sea Charts of the British Isles’. ISBN: 184486 0248
Conway Maritime Press. London.
National Museum of Wales. 1998.
‘A Picturesque Tour through Wales 1675 – 1855’. Texts by Alston,
D; Kenyon, J. R. Mackay, C. & Barron, K. National Museum of Wales.
Brett, C. 2001.
‘John Brett – A Pre-Raphaelite on the Shores of Wales’.
National Museum & Gallery, Cardiff.
Newall, C. 1987.
‘Victorian watercolours’. ISBN: 0 7148 2424 0. Phaidon Press. Oxford.
Hardie, M. 1975.
‘Watercolour Painting in Britain’. Batsford Ltd.
Joyner, P. 1997.
‘Artists in Wales c1740 – c1851’. ISBN: 1 862250 03 0.
164pps. National Library of Wales.
Lambourne, L & Hamilton, J. 1980.
‘British Watercolours in the Victoria and Albert Museum’.
Crown Copyright. ISBN: 0 85667 111 8.
Payne, C. 2010.
‘John Brett – Pre-Raphaelite Landscape Painter’.
Yale University. ISBN: 978 0 300 16575 3.
Public Catalogues Foundation. Since 2005.
‘Oil Paintings in Public Ownership’ (various Volumes). PCF. London.
Staley, A. 2001.
‘The Pre-Raphaelite Landscape’. ISBN: 0300 084408 0.
Yale University Press.
Lynam, R. 1944.
‘British Maps and Mapmakers’. Collins. London.
Williams, I. J. 1926.
‘A Catalogue of Welsh Topographic Prints’.
National Museum of Wales. Cardiff.
Mallalieu, H. 1984.
‘The Dictionary of British Watercolour Artists to 1920’.
Antique Collectors’ Club. Woodbridge. ISBN: 0 902028 48 0.
Wood, C. 1999.
‘The Dictionary of Victorian Painters’. ISBN: 0 902028 72 3.
Baron Publications. Woodbridge, Suffolk.
www.thecrownestate.co.uk Marine research report 93
Figure A.2:
‘Llandudno Parade’
W. Banks, c.1870.
Figure A.3:
‘Llandudno’
Catherall & Pritchard,
c.1870.
94 Marine research report www.thecrownestate.co.uk
Appendix 2 – List of artists who painted
the Welsh coastline 1770-1920
Key to List of Artists
ALLEN, James Bayliss – 1802-1876
A London based engraver, he produced several plates for ‘Wales
AOWSAssociate of the Old Watercolour Society
POWSPresident of the Old Watercolour Society
BIBritish Institution (1806-1867)
NMWNational Museum of Wales
NWSThe New Watercolour Society (founded in 1832)
OWSThe Old Watercolour Society (founded in 1804,
became RWS in 1881)
RWSThe Royal Society of Painters in Watercolours
RAThe Royal Academy
RBAThe Royal Society of British Artists, Suffolk Street
RIThe Royal Institution of Painters in Watercolours
RBCRoyal British Colonial School of Artists
RCARoyal Cambrian Academy, Manchester
Soth.Sotheby’s
Soth. Bel. Sotheby’s Belgravia
SSSociety of British Artists, Suffolk Street
(founded in 1824)
VPRIVice-President of the Royal Institution
of Painters in Watercolours
FlFlourished (the period over which the artist
worked or exhibited)
FASFine Art Society, London
AGAgnew’s Annual Exhibition
LSGLeicester Square Galleries
LLondon
V & AVictoria and Albert Museum, London
W & WWoolley and Wallis Auctioneers, Salisbury
NB:The spellings listed in the titles of works are
those provided by the artists or authors.
illustrated’ (publ. Jones, 1830-31).
ARMYTAGE, J. C. – Fl. 1830s.
He engraved a view of ‘Swansea Bay’ and ‘Holyhead Harbour’
for W. H. Bartlett in Finden’s ‘Ports & Harbours’ (Finden, 1838).
ATTWOOD, J. R. – Fl. 1776.
His view of ‘Milford Haven’ is in the collection of the National
Museum of Wales.
AUSTIN, Samuel, OWS. – 1796-1834
A pupil and prolific painter in the style of Peter De Wint,
he exhibited many views of North Wales.
BANKS, W. & Sons – Fl. 1860s-1880s
Publishers of steel engraved views with T. Catherall of coastal
towns in the manner of Rock & Co. They also engraved a view
of ‘Llandudno’ (1855-60).
BARBER, Thomas
Steel engraver who contributed to ‘Wales illustrated’
(publ. Jones, 1830-31).
BARNARD, G. – Fl. 1850s.
He produced a lithograph of ‘Aberystwyth’ from a drawing by C. Walker.
BARTLETT, William Henry – 1809-1854
A prolific topographical artist (e.g. ‘From the top of Cader Idris’)
and engraver who illustrated many early-to-mid-Victorian guide
books. His Welsh coastal views were engraved in Finden’s
‘Ports & Harbours’ (Finden, E. & W., 1838).
BENTLEY, Charles, OWS – 1806-1854
Marine and coastal painter in watercolours e.g. ‘Shipping off
Tenby’, 1838 (Tenby Museum); ‘Wreck on the sands Cricceath
Castle, Cardigan Bay’ (RWS 315, 1846); ‘On the coast near
Tremadoc’ (RWS 275, 1847); ‘St Catherine’s Rock, Tenby’ (TWS
ADLAND, H.
340, 1850); ‘Coast of Cardigan near Port Madoc’ (RWS 26, 1851).
Engraver whose work contributed to ‘Wales illustrated’
(publ. Jones, 1830-31)
BLUCK, J.
An engraver in aquatint and a landscape painter who exhibited
ALKEN, Samuel
at the RA from 1791-1819. He engraved Welsh views from works
Late eighteenth century engraver in aquatint producing
by Ibbetson, Payne and others.
topographical views e.g. ‘Views in North Wales’ (1798).
www.thecrownestate.co.uk Marine research report 95
Figure A.4 (TOP):
‘Shipping off Tenby’.
Charles Bentley, 1838.
Figure A.5 (BOTTOM):
‘Aberconway Castle’.
S. & N. Buck,
eighteenth century.
96 Marine research report www.thecrownestate.co.uk
BOND, H. W.
CHILDS, G – Fl. 1830s-1840s
An engraver who contributed views to ‘Wales illustrated’
He produced coloured lithographs of ‘Beaumaris’ and ‘Pembroke
(publ. Jones, 1830-31).
Castle’ after Hugh Jones and others.
BOND, William Joseph J. C. – 1833-1926
COLLIER, Thomas, RI – 1840-1891
Landscape painter from Caernarfon painting views in Wales,
He painted a watercolour ‘On the Siabod Flats, North Wales’
including Anglesey.
in 1867 (V & A, 1755-1900).
BONNOR, T.
COLLINS, W. M. – Fl. 1830s
A line engraver and skilled also in aquatint, he engraved plates
He painted a view of ‘Barmouth Sands’ (1835).
for ‘Cambria Depicta’ (Pugh, 1814).
COMPTON, Thomas – Fl. Early 19th century
BRANDARD, Robert – 1805-1862
Author of ‘The Northern Cambrian Mountains’ (Compton, 1820)
Predominantly an engraver, he produced engravings for Turner’s
for which he prepared the original drawings. Compton and others
‘Picturesque views in England and Wales’ (Turner, 1838).
including Robson, Gandy, Nicholson, Girtin, De Wint, Turner,
Fielding and Prout also contributed to this magnificent publication.
BREANSKI, Alfred De. Snr. – 1852-1928
Painter of Highland, Lakeland and coastal scenery
COOP, Hubert, RBA – 1872-1953
e.g. ‘Carnarvon Castle’ (31” x 47”, Soth).
He painted views of North Wales, e.g. ‘Cricceith’, exhibited
at the Walker Art Gallery, Liverpool (Soth. 26/5/83).
BRETT, John Edward, ARA – 1830-1902
A follower of the Pre-Raphaelites, Brett was a painter of
COTMAN, John Sell – 1782-1842
landscapes, particularly geological coastal views in Wales. Most
A pupil of Dr Monro and an associate of Thomas Girtin, he made
of his earlier works are in watercolour but he worked mainly in oils
a tour of Wales in 1800 and again in 1802. Examples of his Welsh
after 1870. Fine examples of his works are held in the National
works are contained in the National Museum and at Swansea.
Museum of Wales. See ‘John Brett – Pre-Raphaelite landscape
painter’ (Payne, C., 2010) and ‘John Brett – A Pre-Raphaelite
COX, David Snr. – 1783-1859
on the shores of Wales’ (National Museum of Wales, 2001).
A pupil of John Varley, he was encouraged to visit Wales in 1805
and 1806; he made a further tour of North Wales in 1818. From
BUCK, Samuel and Nathaniel – Fl. 1724-1738
1844 he was particularly fond of painting views of North Wales.
Prolific engravers of copper plate views e.g. ‘The north-east
His view of ‘Rhyl Sands’ is held by the V & A (P30-1930) and of
view of Aberconway Castle’ (see below).
‘Cardigan Bay’ (1846) by the National Museum of Wales. A view of
‘Barmouth’ was sold by Christie’s (Lot 14, 4/6/08). Other examples
BURT, Charles Thomas – 1823-1902
of works by Cox include ‘On the coast near Towyn, North Wales’
A friend and pupil of David Cox, he painted a view of ‘A fishing
(RWS 125, 1827); ‘On the coast near Aberdovey’ (RWS 124,
harbour, Anglesey’ in 1887 (sold Soth. Bel. 30/3/82).
1828); ‘On the Holyhead road near Penmaenmawr’ (RWS 169,
1839) and ‘Great Orme’s Head’ (RWS, 1853).
CALLOW, John, OWS – 1822-1878
A painter of coastal scenes including ‘North Wales views
CRANE, Walter, RWS – 1845-1915
from 1861’ (Mallalieu, 1984); a subject in which he excelled.
A watercolourist; he produced also lithographs of ‘Caernarvon’,
‘Caernarvon Castle’, ‘Barmouth’ and others.
CARMICHAEL, John Wilson – 1800-1868
A fine painter of coastal scenery, ports and harbours including the
DANIELL, William – 1769-1837
Welsh coast (e.g. ‘Menai Straits’ 1830, Government Art Collection).
A fine draughtsman who perfected the skill of aquatinting.
He turned down the opportunity to fulfil the role of draughtsman
CARTER, J – Fl. 1830s
on a voyage to Australia in favour of his brother-in-law, William
He engraved views of ‘Carnarvon Castle’ for Finden’s
Westall (Mallalieu, 1984). Instead he commenced his ‘Voyage
‘Ports & Harbours’ (Finden, 1838).
round Great Britain’ with his colleague, Richard Ayton, which
extended from 1814-1825. His Welsh views were undertaken in
CARTRIGHT, T. Fl. Early 19th century
1814 and 1815 and include: ‘St Donat’s, Glamorganshire’; ‘Brtton
An aquatint engraver who produced views for ‘Cambria Depicta’
Ferry, Glamorganshire’; ‘Tenby, Pembrokeshire’; ‘The Elligug Stack
(Pugh, 1816), e.g. ‘Rocks near Holyhead’.
near St Gowanshead, Pembrokeshire’; ‘Solva, near St David’s,
Pembrokeshire’; ‘View of the entrance to Fishguard, near Goodwych
www.thecrownestate.co.uk Marine research report 97
Sands’; ‘Goodwych Pier, near Fishguard, Pembrokeshire’; ‘View near
DODGSON, George Haydock – 1811-1880
Aberystwyth, Cardiganshire’; ‘Barmouth, Merionethshire’; ‘View
He painted ‘The coast of Gower, South Wales’ in 1879
of Caernarvon Castle, from Anglesea’; ‘The harbour lighthouse,
(V & A: 1772-1900)
Holyhead’; ‘Lighthouse on the South Stack, Anglesea’; ‘Part of
the South Stack, Holyhead’; ‘The Rope Bridge near the lighthouse,
DONAVAN, E. – Fl. 1800s
Holyhead’; ‘Black marble quarry near Red Wharf Bay, Anglesea’;
He produced a coloured aquatint of ‘Mumbles Lighthouse’ for
‘The entrance to Amlwch Harbour, Anglesea’; ‘Red Wharf Bay,
‘Descriptive excursions through South Wales and Monmouthshire;
Anglesea’; ‘Beaumaris Castle, Anglesea’; ‘View of Puffin Island
in the year 1804, and the Four Preceding Summers, Volume 2’
0near Anglesea’; ‘The bath built by Lord Penryn near Bangor, North
(printed for the author, 1805).
Wales’; ‘Penman-maur, taken from near Aber, N. Wales’; ‘View
of Conway Castle, Caernarvonshire’; ‘The lighthouse on Point
DUNCAN, Edward, RWS – 1803-1882
of Air, Flintshire’.
A fine painter in watercolour of coastal scenery. He painted some
Welsh views, e.g. ‘Wreckers at work in Rhosilly Bay, coast of
DAVIS, William – Fl. 1870s-1890s
Gower, South Wales’ (V & A: 237-1890).
A Liverpool follower of the Pre-Raphaelites, he painted views
of ‘Conway’, ‘Caernarvon’, ‘Harlech Castle’, the ‘Menai Bridge’
ENGLEHEART, Jonathan Fl. Early 19th c
(Gridley, 2012) and ‘Caernarvon’ (Sotheby’s 20/3/79).
An engraver who contributed to ‘Wales illustrated’
(publ. Jones, 1830-31).
DAY & Sons – Fl. Mid-19th century.
Publishers of fine lithographers, some with Catherall & Pritchard of
EVANS, Bernard Walter, RI, RBA – 1843-1922
Chester, e.g. ‘Llandudno from the Parade’, ‘Llandudno from the hill
He painted a watercolour entitled ‘Near Barmouth, North Wales’
behind the baths’ and ‘Aberystwyth’.
(V & A: 245-1876).
DAY, William – 1764-1807
FARINGTON, Joseph, RA – 1747-1821
A geologist and draughtsman who made a sketching tour
Farington worked with Richard Wilson and became one of the first
of North Wales in 1791.
students at the RA. He painted a watercolour of ‘Caernarvon’ in
1791 (V & A: 245-1922).
DAYES, Edward – 1763-1804
A follower of Girtin and Turner, Dayes exhibited at the RA from 1786;
FIELDING, Anthony Vandyke Copley, POWS – 1787-1855
two of his landscapes are held by the National Museum of Wales.
Fielding toured Wales in 1808 and became a pupil of John Varley.
He toured Wales again in 1811 and 1815. His Welsh works include
D’EGVILLE, J. Hervé – Fl. 1866
‘Caernarvon Castle’ (V & A: 2972-1876); ‘View on the Flintshire
He exhibited landscapes of North Wales, e.g. ‘Near Towyn,
coast across the Dee’ (RWS 35, 1820).
North Wales’ (V & A: D190-1890).
FIELDING, Theodore Henry Adolphus – 1781-1851
DE LA MOTTE, George Orleans – 1775-1863
He produced coloured aquatints of ‘Beaumaris Castle’ and ‘Flint
An oil painting entitled ‘Swansea from the West Pier’
Castle’ for ‘A Picturesque tour through North Wales’ (1823).
is held by the National Museum.
FINDEN, Edward – 1782-1857
DE LOUTHERBOURG, Philip James – 1740-1812
The brother of W. Finden who wrote ‘Ports, Harbours and Watering
He produced an aquatint of ‘Conway Castle’ for his publication
Places’ of Great Britain in 1838. The Welsh views include: ‘Holyhead,
‘Romantic and picturesque scenery of England and Wales’
the lighthouse’; ‘South Stack Lighthouse’; ‘Caernarvon Castle, the
(De Loutherbourg, 1805).
Eagle Tower’; ‘Carnarvon Castle – general view’; ‘Harlech Castle, North
Wales’; ‘Barmouth, Watering Place’; ‘Swansea Bay with lighthouse’;
DE WINT, Peter – 1784-1849
‘Oystermouth Castle’; ‘The Mumbles Lighthouse, Swansea Bay’;
An important watercolourist and member of the OWS and
‘The Nass Sands’ Lighthouses’; ‘Cardiff, Glamorganshire’.
associate of Dr Monro and John Varley. His Welsh works include
‘Caernarvon Castle and the Menai Straits’ (V & A: 589-1892).
FINDEN, W. – Fl. 1840s
The brother of Edward Finden and co-author of ‘Ports, harbours
DEANE, William Wood – 1825-1873
and watering places of Great Britain’ (1838) see above.
He painted a watercolour of ‘Barmouth’ in 1868
(V & A: 1805-1888).
FISHER, S. Fl. Early 19th century
An engraver who contributed to ‘Wales illustrated’
(publ. Jones, 1830-31).
98 Marine research report www.thecrownestate.co.uk
FOSTER, Myles Birket, RWS – 1825-1899
GRIFFITHS, Moses – Born c.1749
One of the finest nineteenth century watercolourists of
A resident of Carnarvonshire, he was commissioned by Thomas
topographical and genre subjects. He painted a view of ‘Tenby’ and
Pennant to produce drawings for his ‘Tour of Wales’ (Williams, I. J.,
scenes in North Wales; some of his sketchbooks in his studio sale
1926). His view of ‘Caernarvon Castle’ was engraved by D. Lerpinière.
included Welsh views. A ‘View of Cardiff’ is held by the National
Library, Aberystwyth (PD 6739/6740)
GRIMM, Samuel Hieronymus – 1734-1794
A Swiss artist based in London. He produced delicate drawings
FOWLER, Robert – Fl. c.1905
of Welsh landscapes e.g. ‘Briton Ferry’ (NMW: A12833); ‘Conway
He illustrated the A & C Black publication ‘Beautiful Wales’
Castle’ (NMW: A14718).
(Thomas, E., 1905).
GUNSON, J. – Fl. 1800
FRIPP, Alfred – Fl. 1840s.
A landscape painter who sketched in North Wales in 1800
He painted ‘Tenby Castle, South Wales coast’ (RWS 91, 1842).
(Mallalieu, 1984).
GARNERAY, Ambroise Louis – 1783-1857
HAGHE, Louis – Fl. 1840s-1850s
A French naval officer. He painted a view of ‘Carnarvon Castle’
Artist working principally in the field of lithography; he produced
(V & A: P63-1920).
high quality, delicate, accurate views e.g. ‘Menai Suspension
Bridge’ after G. Pickering, 1828.
GASTINEAU, Henry – 1797-1879
A prolific exhibitor of Welsh landscapes at the RA, OWS and
HANHART, M. & W. – 1856
elsewhere between 1812-75. Over 200 of his views were engraved
They published a lithograph of ‘Llandudno’ after J. J. Dodd, 1856.
for ‘Wales illustrated in a series of views’ (publ. Jones, 1830-31).
He exhibited works at the RWS, e.g. ‘Tenby Harbour’ (RWS 304,
HARRIS, James – 1810-1887
1836); ‘The South Stack Lighthouse at Holyhead’ (RWS 187, 1842).
Swansea marine painter, e.g. ‘Mumbles Head, South Wales’, 1875
(Soth. Bel. 14/1/78).
GIBBS, J. – Fl. 1900
He painted ‘A view of the Menai Straits’ in oils (W & W 17/12/11).
HARWOOD, J. & F. – Fl. 1840s-1850s
Publishers of mid-nineteenth century guides illustrated with steel
GILL, Edmund Marriner ‘Waterfall’ – 1822-1894
engravings – e.g. Roscoe’s ‘Tours’.
A painter in oils e.g. ‘Aberystwyth from the north’ (c.1857)
can be seen at the Ceredigion Museum, Aberystwyth.
HASTINGS, T. – Fl. 1840s
An album of his sketches in Wales (1849) includes a view
GILES, J. W. – Fl. 1830s
of Aberystwyth (Nat. Lib. Aberystwyth).
He produced a lithograph of ‘Oxwich Bay’ in 1831 after
J. H. Robinson.
HASSELL, John – 1767-1825
An engraver and friend of G. Morland. He engraved an aquatint
GILPIN, Rev. William – 1724-1804
of ‘Conway Castle’ (1806). Hassall dedicated an aquatint ‘View
Promoter of the concept of the ‘Picturesque landscape’ through
of Aberytwyth’ (1796) to the Rt. Hon. Lord Viscount Bateman.
his tours, which commenced with ‘Observations on the River Wye’
(Gilpin, 1782).
HAVELL, Daniel – Fl. 1812-1837
An aquatint engraver who produced many coastal illustrations
GIRTIN, Thomas – 1775-1802
for ‘The Northern Cambrian Mountains’ (Compton, 1817) e.g.
A pupil of Dr Monro. His views include ‘Caernarvon Castle’ (NMW:
‘Abermaw’, ‘Harlech Castle’, ‘Bangor’, ‘Beaumaris Bay’.
3568) and a similar subject (V & A: P30-1932).
HAYES, Frederick William, RHA, RI
GLOVER, John, OWS – 1767-1849
He painted ‘The lighthouse at Llandwyn’ (1845).
A founder member of the OWS. He exhibited views of Wales (e.g.
‘Bangor’ – NMW: 19808) as did his son, William (see below).
HAYWARD, John Samuel – 1778-1822
A watercolourist who made a tour of North Wales in 1800
GLOVER, William – 1808-1833
returning in 1810.
Son of John Glover. He painted a view ‘Near Briton Ferry’
(V & A: E1124-1920).
www.thecrownestate.co.uk Marine research report 99
Figure A.6:
‘Barmouth, Merionethshire’.
William Daniell, 1815
Figure A.7:
‘Conway Castle’.
P. J. De Loutherbourg, 1805.
100 Marine research report www.thecrownestate.co.uk
HEAD, Edward J. – 1863-1937
LACEY, S. and H. – Fl. 1830s
Head, a Royal Academian, went to Tenby in the 1880s where
Two of the engravers employed on ‘Wales illustrated’
he gave art lessons and painted local residents and landscapes.
(publ. Jones, 1830-31).
HINCHCLIFFE, J. J. – 1805-1875
LAPORTE, John – 1761-1839
An engraver who produced views for Finden’s ‘Ports & Harbours’
A drawing master who taught Dr Munro. He drew ‘Conway Castle’
(Finden, 1838) e.g. ‘Bridge at South Stack Lighthouse’.
(V & A: 1745-1871) and ‘Bangor and Beaumaris’ (NMW: A18639)
HOARE, Sir Richard Colt Bt. – 1758-1838
LE KAUX, J. H. – Fl. 1830s
He produced a series of monochrome and pencil drawings
He engraved a view of ‘Cardiff’ after W. H. Bartlett in ‘Ports
of Welsh scenery, which are held in the National Museum.
& Harbours’ (Finden, 1838).
HORNER, Thomas – Fl. 1800-1844
LE PETIT, W. – Fl. 1830s
He painted a watercolour of ‘Briton Ferry’ (NMW: 21708).
One of the engravers employed on ‘Wales illustrated’
(publ. Jones, 1830-31).
HORSLEY, Hopkins Hobday – 1807-1890
A painter of landscapes and coastal scenes, e.g. ‘Sunset at Rhyl’.
LEADER, Benjamin Williams, RA – 1831-1923
Leading landscape painter of mountainous scenes. He painted
HUGHES, Hugh – 1790-1863
in North Wales e.g. ‘On the sands at Harlech’, 1901 (Soth. Bel.
Hughes painted a coastal panorama – thought to be the
20/3/82); ‘The Welsh Hills from near Llandudno’, 1895 (Soth. Bel.
‘North-east coast of Anglesey’.
24/12/78); ‘Colwyn Bay on the Llugwy’, 1899 (Soth. Bel. 9/12/80);
‘Conway Bay’ (Soth. 30/8/73). The V & A holds an album of North
IBBETSON, Julius Caesar – 1759-1817
Wales views (V & A: E437-550).
He visited and painted in South Wales in 1789, returning
to Wales to make an extensive tour in the north in 1792.
LINNELL, John – 1792-1882
A fine watercolour ‘A draw net at Tenby’, 1795 is held by
A landscape painter and pupil of John Varley as well as being
Tenby Museum.
a member of Dr Monro’s circle. He toured Wales in 1812/13
(Mallalieu, 1984).
INCE, Joseph Murray – 1806-1859
Welsh landscape painter and lithographer. He painted
LINTOTT, Edward Barnard, NPS – 1875-1951
a fine view of ‘Tenby’ (NMW: 13403).
Landscape painter. The V & A holds a drawing of ‘Rhoscolyn,
Anglesey’ (P60-1922).
JACKSON, Samuel Phillips, RWS – 1830-1904
A painter of marine and coastal subjects, e.g. ‘Tenby Harbour’
MACDONALD, Frances – Born 1914
(V & A: P24-1952) and works in the National Museum.
She painted a view of ‘Old Wharves, Portmadoc’ in 1942 (V & A:
E2390-1949).
JAMES, David – Fl. 1881-1892
Painter of seascapes and coastal views, e.g. ‘Manorbeer Bay,
MARRIS, Robert – Fl. 1770-1800s
Pembrokeshire’, 1888 (Soth. Bel. 9/12/80).
Nephew-in-law of Anthony Devis. He painted a watercolour
of ‘Briton Ferry, Wales’ (V & A: P87-1937).
JORDEN, H. – Fl. 1830s
He was one of several engravers employed on engraving scenes
MAYBERRY, E. J. – Fl. 1840s-1850s
for ‘Views in Wales’ (Jones, 1830-31).
He drew a view of ‘Tenby Harbour’ from the sea (NMW: 16615).
KETTLE, Sir Rupert A. – 1817-1894
MILLARD, Charles – Fl. 1880-1890s
An amateur landscape painter. The V & A holds a view of ‘Shore
A painter of landscapes and marine subjects in North Wales
at Towyn, Cardigan Bay’ (V & A: 358-1872).
including ‘View on the Welsh coast’ (V & A: AL5032).
KENNION, E. – Fl. 1830s
MOORE, Henry, RA, RWS – 1831-1895
One of a number of engravers employed on ‘Wales illustrated’
A follower of the Pre-Raphaelites, he painted marine and coastal
(publ. Jones, 1830-31).
views, e.g. ‘Port Madoc, North Wales’ (V & A: 1799-1888);
‘Penmaen’s Back and Great Orme’s Head’ – Exhibited Dudley
AG 1868 (Soth. Bel. 20/10/81).
www.thecrownestate.co.uk Marine research report 101
MOSSMAN, W. – Fl. 1830s
Museum has a collection of fifteen of his delicate drawings which
He engraved views of ‘Oystermouth’ and ‘The Mumbles rocks and
form the earliest images of Wales in its collection including views
lighthouse’ after W. H. Bartlett for ‘Ports & Harbours’ (Finden, 1838).
of Oystermouth (NMW: 16368), Swansea (NMW: 16369).
MULLER, William James – 1812-1845
POCOCK, Nicholas – 1740-1821
He painted ‘Penmaenmawr from Llandudno’ in 1840
A widely travelled sea captain and artist, his watercolours of the
(National Museum).
Welsh coast include ‘Llanstephan Castle, coast of Carmarthenshire’
(V & A: 41-1871); ‘Town and port of Tenby – a strong gale’ (RWS 26,
NEWMAN, J. – Fl. 1850s
1805); ‘Holyhead – a fresh gale with shipping’ (RWS 302, 1807).
A line engraver who produced many views of Welsh scenery
(Williams, 1926). He may have lithographed two views of ‘Tenby
POLLITT, Albert – Fl. 1889-1920
from the north shore’ and ‘Tenby from the south sands’ published
He painted in the manner of David Cox. He produced a view
by R. Mason.
of ‘Cemaes Bay, Anglesey’ in 1889 (Soth. Chester 11/5/83).
NEWMAN & Co. – Fl. 1850s
PROUT, Samuel – 1783-1852
They prepared a fine large lithographic of ‘Rhyl, North Wales’
His drawings illustrated ‘Beauties of England and Wales or
(published by D. L. L. Lewis of Rhyl).
Delineations, Topographical, Historical Descriptive of each County’,
printed by Thomas Maiden, for Vernor and Hood (Britton, J., 1803).
NEWTON, J. – Fl. 1780s
He painted ‘Tenby Castle’ (V & A: FA386).
He engraved a view of ‘Conway’ (1786).
PUGH, Edward – Died 1813
NICHOLSON, G. – 1840
A Welsh landscape painter who wrote and illustrated ‘Cambria
He produced a coloured lithograph of ‘Menai Straits’ in 1840.
Depicta. A Tour through North Wales illustrated with Picturesque
views by a Native Artist’ (W.Clowes, London) (Pugh, 1816).
NIXON, John – c.1750-1818
A contemporary of Rowlandson, his drawings have a similar
PYNE, James Baker, RBA – 1800-1870
style. He engraved a view of ‘Conway Castle’ after J. Walker.
Bristol landscape painter influenced by Turner. He painted
‘Cricceith Sands’ in 1846 (Soth. Bel. 7/10/80).
NORRIS, Charles – 1779-1858
A prolific Pembrokeshire artist and etcher. His views include
QUINTON, Alfred Robert – 1853-1934
‘Etchings of Tenby’ (1812) e.g. ‘The Pier Head’ (NMW) and
A prolific watercolourist from the 1870s exhibiting at the RA
‘Termination of the south wall’ (NMW).
and RBA. It was in 1911 that the postcard publisher J. Salmon
of Sevenoaks commissioned Quinton to paint views for reproduction
OSMENT, Philip – Fl. 1904
on colour picture postcards. By his death he had produced some
He painted a view of ‘The Menai Straits’ in 1904.
2,300 views in total. The Welsh coast was illustrated extensively
by Quinton particularly the coastal towns e.g. Tenby, Barmouth,
OLDFIELD, John Edwin – Fl. 1824-1854
Aberystwyth and Llandudno.
He painted a watercolour of ‘Caernarvon Castle – Sunset’
(Soth. Bel. 28/4/83).
RAVEN, Rev. Thomas – c.1795-1868
A gentleman artist influenced by the work of the Pre-Raphaelites.
OAKES, John Wright, ARA, HRSA – 1820-1887
He painted in Snowdonia and ‘St David’s Head, St Bride’s Bay’
He painted ‘Rocks on the beach at Abberfran’ in oils (Soth. 2/5/78).
(V & A: FS627).
PARS, William, ARA – 1742-1782
REEVE, R. – Fl. 1820s
Landscape painter of Irish and Welsh scenery. The V & A hold two
He produced an aquatint of ‘Menai Straits’ after G. Arnald in 1828.
watercolours of ‘Caernarvon Castle’ (V & A: 110-1894 and P2-1946).
ROBERTS, R. – Fl. 1830s
PAYNE, William – 1769-1843
An engraver who contributed to ‘Wales illustrated’
The National Museum holds a watercolour by Payne of ‘Briton Ferry’.
(publ. Jones, 1830-31).
PLACE, Francis – 1647-1728
ROBINSON, Edward W. – 1824-1883
Through contacts with the artist and etcher W. Hollar, Place
A landscape painter who produced views across England
developed his interest in landscape painting. The National
and Wales.
102 Marine research report www.thecrownestate.co.uk
ROBINSON, William – Fl. 1820s-1850s
SMIRKE, Mary – 1779-1853
A landscape painter who produced views of North Wales
A detailed watercolourist and associate of J. Farington,
and Yorkshire.
she made a sketching tour of Wales.
ROBSON, George Fennel, POWS – 1788-1833
SMITH, John ‘Warwick’ – 1749-1831
He painted many fine views including ‘Penman Mawr from the
A leading member of the OWS and, for a while in the 1770s,
grounds of Penrhyn Castle’ (RWS 352, 1820); ‘Harlech Castle’
received the patronage of Lord Warwick. Schooled by J. Gilpin,
(RWS 292, 1832).
Smith visited Wales repeatedly between 1784-1806. Often
producing highly finished watercolours with blue or green tones
ROCK & CO – Fl. 1860s-1880s
Smith has left a rich legacy of Welsh coastal views e.g. ‘Distant
Publishers of numerous books containing vignette steel engravings
view of the Eifl Hills’ (NMW), ‘Milford Haven’ (NMW: 1801), ‘Milford’
of popular coastal towns and villages in Wales and across the
(NMW: 16808), ‘Fishguard’ (NMW: 16805), ‘Fishguard Bay’,
United Kingdom.
1797 (NMW: 16806).
ROWLANDSON, Thomas – 1756-1827
SMITH, William Collingwood – 1815-1887
Perhaps the leading artist of the Georgian period, he produced
He painted ‘The Mumbles Lighthouse, Swansea Bay’
social scenes and some landscapes containing coastal details. He
(RWS 123, 1850).
made various excursions across England and into Wales. His works
include ‘The Mouths of the Rheidol and Ystwyth at Aberystwyth’
SQUIRE, John – Fl. 1860s-1890s
(V & A: P121-1931); ‘View of the entrance to Fishguard from
Landscape painter from Ross-on-Wye and Swansea, he painted
Goodwych Sands’, watercolour (Soth. 15/12/86).
views of Wales and the West of England.
SALMON, John Cuthbert – 1844-1917
STANFIELD, William Clarkson, RA – 1793-1867
Landscape painter whose subjects include views of North Wales.
Marine painter in oils and watercolour e.g. ‘The Race of Ramsay,
near St David’s Head, South Wales’. Exhibited: RA 1862 No. 21
SANDBY, Paul, RA – 1725-1809
(Soth. Bel. 9/4/74).
Leading influential early watercolourist who painted Welsh
landscapes for 1770, also illustrating ‘Views in South Wales’
STANLEY, Caleb Robert – 1795-1868
in aquatint (Sandby, 1775). He produced fine watercolour drawings
London landscape painter who produced topographical scenes
of the city of Cardiff and the Castle (National Museum) and ‘View
from across Europe, including Wales.
of Benton Castle, Milford Haven, South Wales’, 1784
(Soth. 11/11/82).
STEEPLE, John, RI – Fl. 1852-1888
He exhibited at the RA and elsewhere e.g. ‘Squally weather on the
SCOTT, Walter – 1851-1925
Welsh coast – At Llanon near Aberystwyth’, 1863 (V & A: AL6822).
Headmaster of Norwich Art School, Scott painted landscapes
in England and Wales.
SUMMERS, A. – Fl. 1850s
A lithographer; he produced a view of ‘Beaumaris Castle’.
SELOUS, Henry Courtney – 1803-1890
A painter of landscapes and other subjects, he travelled widely
SURTEES, John – 1819-1915
and produced views of Wales.
Landscape painter and associate of T. M. Richardson (Mallalieu,
1984), he exhibited views including Wales and Scotland.
SHALDERS, George, NWS – 1826-1873
A landscape painter whose subjects included views of Wales.
SYER, James – Fl. 1860s-1870s
Painter of landscape and marine subjects including Wales,
SLOCOMBE, Frederick Albert – 1847-1920
exhibiting at the RA and SS, e.g. ‘Near Barmouth’. Exhibited
A prolific landscape painter who produced views from across
RA 1875 No. 556 (Soth. Bel. 3/7/79).
England and Wales.
TINGLE, J. – Fl. 1830s
SMART, John, RSA, RSW – 1838-1899
An engraver who worked on ‘Wales illustrated’ (Jones, 1830-31).
A founder member of the RWS he produced landscapes
of Scotland and Wales.
TOPHAM, F. W. – Fl. 1830s
He engraved two plates of ‘Barmouth’ and ‘Ness Sands and
Lighthouses’ for ‘Ports & Harbours’ (Finden, 1838).
www.thecrownestate.co.uk Marine research report 103
Figure A.8:
‘A drawnet at Tenby’
by Julius Caesar
Ibbetson, 1795.
Figure A.9:
‘Egg Rock, Aberystwyth’
by Alfred Worthington.
A view of the natural
egg-shaped rock just south
of Tan-y-Bwich, washed
away in a storm during the
winter of 1930-31.
104 Marine research report www.thecrownestate.co.uk
TOWNE, Francis – 1740-1816
VICKERS, Alfred – 1786-1868
Leading early watercolourist who toured Wales with his West
Landscape painter in oils with a sketchy style in the manner
Country associate, James White. His drawings comprise pen
of Boudin. He painted a view of ‘Great Orme’s Head’ in 1851
and wash in pale tones similar to that of Grimm (Mallalieu, 1984).
(Soth. Bel. 12/12/78).
TOWNSEND, J. – Fl. 1820s
WADHAM, B. – Fl. 1870s
He prepared a lithograph of ‘Conway’ (1822).
A landscape painter from Liverpool who produced views
of North Wales.
TREHEARNE, C. L. – Fl. 1830s-1850s
He produced views of Pembrokeshire, including Tenby,
WALKER, James William 1831-1898
in pencil and watercolour (e.g. National Library, Aberystwyth).
He made a sketching tour, which included Wales, in 1881.
TURNER, Joseph Mallord William, RA – 1775-1851
WALLIS, R. – Fl. Mid-nineteenth century
A pupil of T. Malton and Dr Munro, Turner made sketching tours
Wallis engraved a view of ‘Harlech Castle’ for ‘Ports & Harbours’
from an early age. He first toured Wales in 1792 and again in 1795,
(Finden, 1838).
1798 and 1799. His landscapes up to the 1820s were more
topographical after which his experimentation with the effects of
WALMESLEY, Thomas – 1763-1806
light rendered them more impressionistic, e.g. ‘Flint Castle’ (NMW).
A landscape painter who exhibited at the RA from 1790. His work
Most of his Welsh works are depictions of the castles e.g. ‘Conway
is in the ‘Picturesque’ style with a number of his views engraved
Castle’ (1803, oil on canvas, private collections), ‘Caernarvon
as aquatints by others.
Castle’ (1832, watercolour, British Museum), Beaumaris Castle, Isle
of Anglesey’ (c.1835, watercolour, Huntington Library, San Marino,
WATSON, Edward – 1814-1887
California) and ‘Criccieth’ (1835, watercolour, British Museum).
He worked with David Cox producing illustrations for ‘Wanderings
in Wales’ (Radclyffe, 1853).
TURNER, William, of Oxford, OWS – 1789-1862
A pupil of J. Varley, Turner produced fine, detailed watercolours
WAY, Charles Jones – Fl. 1860s-1880s
often taken from elevated locations and offering panoramic views;
Painter of marines and landscapes across the British Isles
e.g. ‘Scene on the sands at Barmouth’ (RWS 152, 1832); ‘Port
including Wales.
Penrhyn – Low Water, Beaumaris, Puffin Island, Great Orme’s Head
and Penmaenmawr in the distance’ (RWS 140, 1835).
WEBB, William Edward – c.1862-1903
Manchester painter of marine and coastal subjects e.g. ‘Conway
UPHAM, John William – 1772-1828
Castle’ (Soth. Bel. 22/7/80).
A pupil of F. Towne, he produced topographical views including
North Wales.
WEBSTER, Thomas, RA – c.1772-1844
A geologist and artist associated with Francia and Girtin. He toured
VARLEY, Cornelius – 1781-1873
North Wales with the Varley’s in 1802, e.g. ‘Harlech Castle’ (V & A:
Brother of John Varley, he was a founder member of the OWS.
AL4837).
He toured North Wales with his brother and William Havell in
1802-1803, e.g. ‘Coast scene Merionethshire, with Harlech Castle’,
WHAITE, Henry Clarence, RWS – 1828-1912
1804 (V & A: 201-1890).
First President of the Royal Cambrian Academy, he exhibited
from 1851, painting views of North Wales.
VARLEY, John, OWS – 1778-1842
A leading early watercolourist influenced by Dr Monro and Girtin
WHITAKER, George – 1834-1874
exhibiting at the RA from 1798, the year of his first tour of Wales.
West of England landscape painter who produced views of Wales
He produced numerous landscapes (e.g. ‘View of Barmouth near
and the West Country.
Dolgelly, Merionethshire’, 1804 – Soth. 30/3/80) and town scenes
of Wales together with romantic landscapes illustrating the castles
WHITE, James – 1744-1825
e.g. ‘Harlech Castle with Snowden in the distance’ (NMW), ‘Conway’
An associate of F. Towne and uncle of John White Abbott, who
(V & A: FA436). Two views of Penrhyn Castle by Varley were contained
made a tour of Wales with Towne in 1777.
in ‘The Goodwin Album’ of drawings sold by Sotheby’s on 10/7/80.
WILDE, William – 1826-1901
Landscape painter who exhibited views of North Wales from 1864.
www.thecrownestate.co.uk Marine research report 105
WILLIAMS, Alfred Walter – 1824-1905
WILSON, Richard – 1714-1782
Landscape painter from the Williams-Percy family. He painted views
After six years of study in Italy Wilson returned to England in 1756;
of Wales, the Lake District and the Highlands in the family tradition,
he was a founder member of the RA. Entitled ‘the father of English
exhibiting from 1843.
landscape painting’ he was the most important native Welsh artist
producing picturesque landscapes; he was, like Gilpin, ‘less
WILLIAMS, C. F. – Fl. 1840s
concerned with the topographic aspects of the scene than capturing
He produced views of ‘Barmouth’, 1849 (NMW: A5656), ‘Port
an idealised atmosphere’ (Barron, in Ford and Hayashi (Eds.), 1998).
Madoc from the Rock Walk’ (NMW: 5652) and ‘Port Madoc from
the embankment’, 1849 (NMW: A5651).
WITHERINGTON, William Frederick, TA – 1785-1865
Landscape painter who exhibited views of Wales from 1808.
WILLIAMS, J. J. W. – Fl. 1840s
E.g. ‘Constructing the Menai Bridge’ held in the National Library
WORTHINGTON, Alfred – 1835-1927
of Wales (PE 1443).
Landscape painter in oils. He settled in Criccieth for health reasons
in about 1870. After running a photographic business he turned
WILLIAMS, Walter – 1835-1906
to paintings including works on slate. The Ceredigion Museum
An exhibitor of views of Wales at the RA, e.g. ‘A view across
in Aberystwyth holds examples of his works e.g. ‘Marine Parade,
Barmouth Water’ (Sotheby’s 25/10/77).
Criccieth’, and ‘Egg Rock, Aberystwyth’ (c.1931).
WILLMORE, J. T. – 1800-1863
WOOD, J. G. – Fl. 1800s
He engraved a view by Turner of ‘Penmaenmawr’ (1835/6).
A view of ‘Barmouth’ is included in ‘The principal rivers
of Wales illustrated’ (Wood, 1811-13).
WILSON, Andrew – 1780-1848
Pupil of A. Naysmith, a painter of landscapes and marine scenes
including Wales, e.g. ‘Harlech Castle, North Wales’ (V & A: 35-1878).
106 Marine research report www.thecrownestate.co.uk
Acknowledgments
The authors with to acknowledge the
valuable support of The Crown Estate for
this study. The assistance of the following
organisations and individuals is also kindly
acknowledged: Beth McIntyre, Curator of
Prints and Drawings, National Museum of
Wales, Cardiff; Charlotte Topsfield, Assistant
Curator of Prints and Drawings, National
Museum of Wales; John Kenyon, Librarian,
National Museum of Wales; Mark Etheridge
and Carolyn Charles, National Collections
Centre, National Museum of Wales; Lona
Mason and Paul Joyner of the National
Library of Wales, Aberystwyth; Mark Lewis,
Collections Manager, Tenby Museum; Sue
Baldwin, Honorary Librarian, Tenby Museum;
Dr Rhoda Ballinger, Department of Earth
Sciences, Cardiff University; Emyr Williams,
Pembrokeshire County Council; Louise
Pennington, Project Co-ordinator, Wales
Coastal Monitoring Centre, Cyngor Gwynedd
Council; Rodri Lloyd of Ceredigion County
Council; Ian Hayes of Conwy County
Borough; Gareth Edwards, the Royal
Commission on the Ancient and Historical
Monuments of Wales; Dr Alan Clark; Dr
Gregor Guthrie, Royal Haskoning; Sebastyan
Smith, Glamorgan Archives; Marilyn Jones,
Local Studies, Swansea; George Edwards,
Local and Family History Librarian,
Pembrokeshire Libraries; Nikki Bosworth,
Pembrokeshire Record Office; Carrie
Canham, Ceredigion Museum, Aberystwyth;
Lynda McLeod, Christie’s Archives; Tony
Haynes and Vicky Rimell of Haynes Fine
Art, Broadway; Charles Brett; Chris Gridley;
Francis Jeffcock of Ackermann & Johnson;
Paola Fumagalli of The Bridgeman Art
Library; the staff of the Prints and Drawings
Reading Room, the Victoria and Albert
Museum, London; Professor Roger Moore,
Halcrow; Sylvia McInnes; the Duke of
Buccleuch; J Salmon Ltd of Sevenoaks;
the staff of Grosvenor Prints, Shelton Street,
Covent Garden, London; Miranda Mclaughlan
of V & A Images; Sandra Howat of Bowhill
Library, Galashiels; Nicholas Bagshawe; Nigel
and Teresa Traylen of Ventnor Rare Books;
Cheryl Taylor; Amelia Morgan of Tate Britain
Enterprises Ltd; Ros King of Heaton’s of
Tisbury; Gillian Richardson Fine Art; James
Warren; Robert Jones of the Government
Art Collection (UK); Richard Shellabear of
Todd White Art Photography; Rachel Boyd
of Richard Green Fine Paintings, London;
Heather Freeman.
Picture Credits
Ackermann & Johnson: 2.4. John Bancroft
and family: 4.11. Ceredigion Museum,
Aberystwyth: 6.2.4, 6.3.1, 6.2.4; A9.
©Christie’s Images/Bridgeman Art Library:
6.2.10. Government Art Collection: 3.23.
Royal Haskoning: 6.5.2A & 6.5.2B. Haynes
Fine Art, Broadway: 1.7. Robin McInnes:
Front Cover, i.1, i.2, i.4, i.5, i.7, 1.8, 1.9,
1.10, 1.12b, 2.1, 2.2, 2.5, 3.6, 3.8, 3.9,
3.13, 3.14, 3.15, 3.21, 4.6, 4.7, 4.8, 4.9,
4.10, 4.14, 5.1, 5.2, 6.1.1, 6.1.3, 6.1.5A,
6.2.1A, 6.2.2, 6.2.3, 6.2.3A, 6.2.4A,
6.2.11B; 6.2.12; 6.3.3A; 6.4.2; 6.4.3, 6.4.4,
6.5.1, 6.5.4, A1, A2, A3, A5, A6, A7. Sylvia
McInnes: 1.1, 1.2, 1.3, 6.1.4A, 6.2.2A,
6.2.5A, 6.2.10A 6.3.2A. National Museum,
Wales: i.6, 1.4, 3.4, 3.5, 3.7; 3.10, 3.11,
3.24, 4.1, 4.4, 4.5, 4.13, 6.1.2; 6.2.7, 6.2.8,
6.2.11, 6.4.1, 6.5.2, 6.5.3, 6.5.5. Louise
Pennington: 1.11, 6.2.12A. Private
Collections: i.8, 1.6, 3.2, 3.12, 3.19, 3.20,
4.3, 4.12, 6.1.4, 6.1.5, 6.3.3, 6.4.5. Gillian
Richardson Fine Art:©1.12A, 4.15, 6.4.1A.
Richard Green Gallery: i.3; J Salmon Ltd of
Sevenoaks: 3.16, 3.18, 3.22, 6.2.1, 6.2.5,
6.2.6, 6.2.9, 6.3.2. ©Tate, London: 2.3.
Tenby Museum; 3.1, 3.3, 3.17, A4, A8. V &
A Images: 4.2. James Warren ©6.2.11A.
www.thecrownestate.co.uk Marine research report 107
The Crown Estate
London
16 New Burlington Place
London W1S 2HX
020 7851 5000
Edinburgh
6 Bell’s Brae
Edinburgh EH4 3BJ
0131 260 6070
www.thecrownestate.co.uk
@TheCrownEstate
ISBN: 978-1-906410-42-1