A biography of David Cox: with remarks on his works and genius

Front matter

, BY '

W I LXvI AM HALL .

ART BOOKS

Contents

CHAPTEE I.

PAGE

The Birth, Parentage, and Early Years of David Cox— His Apprenticeship to a Miniature Painter — Brush- washer and Scene-painter at the Birmingham Theatre — W. C. Macready, the Tragedian .... 1

Chapter I

The Birth, Parentage, and Early Years of David Cox — His Apprenticeship to a Miniature Painter — Brush-washer and Scene-painter at the Birmingham Theatre — W. C. Macready, the Tragedian.

In reading the biography of an eminent man — as in following the onward course of some famous river — it is always delightful to note and dwell upon the first start in existence ; to contemplate the fount and cradle of life and being — the circumstances of birth and parentage — the surroundings of infancy — the indications of early boyhood — the first inflection of the mind pointing to the future course, long before that course has been marked out by strong desire, by will, by moulding circumstance, and augmented power, compelling it to take its final direction. The stream — it may be — wells forth in some sequestered spot — shady, obscure, untraced, and unknown — bubbling up among stones and mosses, surrounded with reeds and bracken, creeping for a time along its tiny channel, just tinkling among the pebbles. After a while, by numberless tributaries, its volume increases ; it begins to grow stronger, and cheerily leaps along its

B

DAVID COX.

bed, singing sweet songs as it goes ; until at length it swells and widens, and dashes impetuously on its way — a mighty river — seen and known by all, bearing with its course beauty and strength and blessing for all within reach. It is pleasant in like manner to trace the lifestream of one destined to become famous, from the cradle of existence ; to note the surroundings of early days ; to mark the first bias of the young mind indicating its future and ultimate direction ; to note the impediments in its way — the obstacles to be encountered and triumphantly overcome by persistence, a stout heart, the sense of power daily growing stronger, the consciousness of success in view, and the prospect of a brilliant future, and then the steady march forward to the end !

David Cox, whose genius and whose exquisite transcripts of Nature have earned for him a foremost place among the creators of a School of English Water-Colour Painters, was a native of Birmingham. He first saw the light of day on the 29th of April, 1783. He was born of humble parents, in a very unpretending abode, situated in Heath Mill Lane, Deritend — a suburb of the great Midland metropolis. The house stood not very far from a well-known ancient inn, called the “ Old Crown,” still existing — a notable specimen of half-timbered work, and which, as a mansion of considerable importance, attracted the notice of Leland, when he visited Birmingham in the reign of Henry VIII. Cox’s humble birthplace, however, and all the adjacent tenements of that date, have been swept away to make room for the requirements of our modern civilisation. Even

HIS FATHER AND MOTHER.

the street itself has disappeared ; nothing remains but its name, and the picturesque half-timbered, heavy- gabled, ancient inn, which for so many years has been a conspicuous object at its southern corner.

Joseph Cox, the father of David, was twice married. By his first wife, Frances Walford, who was the daughter of a farmer and miller of Birmingham — the same Walford who built the windmill (remembered by many) that crowned the summit of a gentle elevation looking down upon one of the town’s ancient roadways, called Holloway Head — he had two children — a daughter, Mary Ann, who was married to Mr. Ward, Professor of Music, residing at or near Manchester ; and David, the subject of this biography. His occupation was that of a whitesmith, in contradistinction from that of a blacksmith, or shoer of horses. He was a forger of bayonets and gun-barrels, as well as being a general artificer in iron. His son has said that when he first visited London to obtain employment as an artist, he sometimes held in conversation the sentries who patrolled before the Government Offices, to detect, if he could, his father’s private mark on the muskets they carried. It was intended that David, when old enough to wield hammer and file, should be brought up to his father’s trade ; and it is believed that for a short time he actually worked at the anvil and bench ; but he was a weakly boy, not at all fitted for so laborious a craft. The “ Divinity that shapes our ends ” was exemplified in the fife of young David Cox. He might have stood at the anvil until old and grey-headed — a smith, like his

DAVID COX.

father ! Until the end of his days he might have been a forger of implements of warfare — a maker of holts and bars — and have stood at the fire, girt with leather apron, hammer or tongs in hand. But this was not to he. An accident, sad at the time, but happy in its issue, determined otherwise. In early youth, the lad stumbled over a door-scraper in the evening dusk, and broke his leg ; and this caused the poor little cripple to divert his thoughts into another channel. Great were the lamentations of his friends at this untoward accident, which was looked on as a permanent misfortune. It was evident that all ideas of David following his father’s business must be abandoned. He had, moreover, greatly outgrown his strength, and the labour of the forge and workshop was held to be too trying for a constitution by no means robust. Some other occupation, of a lighter kind, was therefore desired for him. The broken limb compelled the boy to keep his bed for several weeks, tying quiet and unmoved, till the fracture had united ; but so soon as he was permitted to sit up, propped with pillows, for a short time, he began to cast about for something with which to amuse himself, and while away the weary hours. A few prints were given him, to interest and occupy his mind. He had previously shown some cleverness with his pencil — just a child’s very small ability, frequently made so much of by a fond parent’s love — and he expressed a wish to copy, with pen or pencil, some of the prints, for his amusement. His friends complied with the request, and he was furnished with the necessary materials.

HIS FIRST DRAWINGS : BOYISH EFFORTS.

Little David went to work with a will, and soon produced two or three drawings, which mightily pleased his parents, who no doubt thought them quite wonderful for a child of his tender years. Seeing what he could do, so quickly and so cleverly, a relative presented him with a box of colours and some brushes. Oh, the happy day ! Who does not recollect his first colour-box, and the pleasure of contemplating the rows of pretty pigments which lay side by side, ready for use ? The young artist painted away with great delight and perseverance, and in no long time achieved a number of small successes. His friends were delighted with his productions ; they even ventured to predict that in course of time, with practice and study, he might, if he chose, become an artist of celebrity. But they had many misgivings in discussing the subject. We may conceive the anxious debates which took place in the family circle night after night, when David’s future course came up for consideration. Was it possible for him to maintain himself respectably by his pencil, if he took up the profession of a painter of pictures? Ought he to be encouraged to follow the bent of his inclination in a a pursuit which, in his surroundings, promised so little ?

We may well fancy the boy’s parents discussing his prospects, as he lay suffering from his broken limb, and as the result of the discussion leaving them to time and chance, he still going on executing the poor little works of art which afforded him so much delight. These humble achievements of his boyish skill were sometimes sold to friends for trifling sums, which

DAVID COX .

pleased his parents, and afforded the young painter no small encouragement. Something must be done, however, and therefore it was at length determined that he should receive a few lessons in drawing at a night school kept by Mr. Joseph Barber, of Birmingham, a competent drawing-master and artist. With the exception of two or three lessons, in after years, from that admirable master of water-colours, Mr. John Yarley, the instruction David Cox received in drawing whilst at this night-school of Mr. Barber’s was all he had. For the rest he was indebted solely to himself— to the gifts with which he was endowed by nature; to the study of the works of masters of the art which came in his way; to a close, intelligent observation of the beauties of nature ; to constant practice, and to a stout heart.

The proficiency of the young artist under the instruction of Mr. Barber was considered so satisfactory, that at the usual age he was apprenticed to a miniaturepainter in Birmingham, a man named Fieldler, and by him was taught to execute subjects for lockets, and for the lids of snuff-boxes, which at that time gave employment to many persons in the town. These subjects were frequently taken from the pictures of Teniers, Ostade, and other painters of the Dutch School, and were views in Holland, with out-of-door merry-makings ; cottage interiors, with boors drinking, smoking, and playing at cards ; quarrelling peasants, armed with drawn knives and three-legged stools ; heads of burgomasters, after Rembrandt; and subjects

SCENE-PAINTER AT TEE THEATRE.

of a similar kind. It may be taken for granted that young David delighted in copying these pictures ; it was an occupation congenial to his taste ; moreover, it put a liftle money in his purse. He felt that he was beginning to earn a living by his pencil, and doubtless thought he saw his way to prosperity at no distant period. But, unfortunately — or, looking at his future career, shall we not rather say most fortunately?— for him, before he had been very long apprenticed, his master died. The poor man committed suicide, and poor David was cast loose upon the world without an occupation. What a blow to his towering hopes and expectations this unlooked-for event must have been ! Ho doubt he considered his once fair prospects of becoming an artist had vanished for ever. How long he remained in this sad position is uncertain, but after a time, and through the instrumentality of a relative — the same who had presented him with the colour-box when confined to his bed with a broken limb — he was offered employment at the Birmingham Theatre, then under the management of the elder Macready, as assistant to a M. de Maria, scene-painter to the company, a person of considerable ability in his line. Cox's work was to grind colours, wash brushes, prepare canvas, and do what else in a general way might be required in the scene-painter's loft. The offer now made him was gladly accepted. He thought he saw in the appointment an opportunity for further advancement in the art he loved, and entered on his duties with an eager relish for the work, looking

DAVID COX.

S

forward to the time when possibly he might become as clever as his employer, and some day, perhaps, master scene-painter himself. Little David laboured assiduously in his new vocation, and watched with an attentive eye De Maria’s method of working, and all the expedients to produce “ effect” in his scenery, •of which afterwards David Cox was so great a master himself. He thought highly of his employer’s skill, not only at that time, but to his latest days, and often spoke of him in eulogistic terms, saying, in his cheery way, “De Maria was a very clever fellow indeed ! ” Many years after Cox had left the theatre, when he had become a member of the Society of Painters in Water-Colours, and an exhibitor in their rooms, he was one day strolling through the gallery, the Exhibition being then open, when he saw an elderly gentleman, catalogue in hand, looking admiringly at one of his drawings. Cox recognised in the visitor his old master at the Birmingham Theatre, De Maria, and addressed him by name, but was evidently forgotten. Cox inquired if he did not remember “ one David Cox, a very young artist, who resided in Birmingham many years ago? ” “ What ! little David, who used to wash

brushes and grind colours for me at the theatre ? ” “Yes; I am little David.” “Did you make that drawing ? ” pointing to the one he had been admiring. “ I did,” said Cox ; “ I learned a great deal from you , sir.” “ Then I have a great deal to learn from you now !” rejoined the old man ; and both master and pupil were well satisfied.

PAINTS AN ACTRESS'S PORTRAIT.

After Cox had been employed some time in this humble capacity at the theatre, he was suddenly and unexpectedly called upon to try his “ ’prentice hand ” in the production of a hit of original scenery. His master, De Maria, was absent from the theatre on account of illness ; a new piece was being prepared for the stage ; and a portrait of the heroine, an important feature in the performance, was required to be exhibited during the play. Search was made among the scenery in stock, hut nothing suitable could be found. The manager was at his wits’ ends ; he knew not what to do. Young Cox, seeing the dilemma Macready was in, stepped up to him and said, 4 4 If he might be allowed to try, he thought he could execute what was wanted.” “ You ! ” said the manager, with indignant surprise. “ Yes,” said David, “I think I can do it.” “Then try,” rejoined the manager; “ it must be done!” David, who, during his apprenticeship to the miniature painters, had often executed heads of a small size (one of which, most beautifully painted, remains in the possession of his son) went to work with a will, and soon produced what was required. He attentively studied the actress who was to personate the heroine of the piece, and had a sitting to complete the likeness. The manager was much pleased with his performance ; and David was so delighted at his success that when the play was acted on the first night, he went into the gallery to see how his picture looked across the theatre, and to hear the commendations bestowed upon it. His master, De Maria, also complimented him on his skill.

DAVID COX.

How long Cox remained discharging the duties of his very subordinate position is not exactly known, but after a time De Maria resigned his appointment, and David Cox was installed in his place. This was an important step in the young artist’s career ; it gave him fche opportunity of practice, which he specially needed. With Macready and the players he travelled from town to town, visiting Leicester, Sheffield, Manchester, and other places. Occasionally he essayed his powers as a performer — of course in very humble parts; and once, in the absence of the regular actor, he even ventured to aspire so high as to undertake the important character of pantaloon in a pantomime ! Although now head scene-painter to Macready, his name, as being of no account, was never mentioned in the bills. This on one occasion gave him great annoyance. A new piece was to he brought out ; large posters were placarded about the town ; and advertisements appeared in the papers announcing the names of the performers — all “ stars ” of the first magnitude ; with “ entirely new and most beautiful scenery” (the work of poor Cox), painted by the unrivalled artist, Mr. Daubeney, of London ! David Cox was completely ignored ! On remonstrating with the manager, Macready flew into a rage (he very often did), and told him to “go and be hanged!” “Who was he?” “Did he suppose that his name would draw the public P ” Cox’s motto, “ Honour to whom honour is due ! ” was laughed to scorn, and he retired from “ the manager’s room ” an aggrieved and disappointed man. For some time, how-

W. C. MACREADY’S TOY THEATRE.

ever, he continued to follow the fortunes of Macready as his principal scene-painter ; hut his parents, fearing that his moral character might suffer from his connection with the players, importuned him to quit the theatre, and give his attention to other pursuits. Cox was, however, bound to Macready by articles of agreement for a stipulated term, and the manager, unwilling to forego his services, flatly refused to liberate him. Before long David’s mother again wrote a very pressing letter, entreating him to return home. Cox dared not show this letter to the manager, hut read it to Mrs. Macready, thinking doubtless that as a mother she would sympathise with his mother’s anxieties, and besought her to use her influence with her husband to obtain his release. Arguments and entreaties at length prevailed. The wife’s appeal soon brought about the desired result, and Cox was set at liberty.

Young Macready, the eminent tragedian, was a boy at Bugby School at the time that Cox was in his father’s employ, and had a small toy theatre constructed for his amusement, for which Cox painted the requisite scenery. One of these scenes represented a flock of sheep being driven to market; it was fixed upon rollers, and by turning a handle behind was made to move forward, so that the sheep which disappeared on the one side quickly came round upon the other, and the flock, to the delight of the beholders, seemed interminable. This was the contrivance of Cox, for which he received great praise from Macready, junior. When, a few years before the death of the artist, it was proposed that a portrait of

DAVID COX.

him should be painted by an eminent hand, to he placed in some public institution in his native town, and for which purpose subscriptions were solicited from friends and admirers, the author of this Memoir ventured to apply to the great actor (among others) for assistance to carry out the project, taking the liberty to remind him of early days, and stating that David Cox, the famous artist, in whose honour this proposal was made, was the same person who, in the days of his boyhood, was colourgrinder and afterwards scene-painter at his father’s theatre in Birmingham. The following reply was received by the writer: —

Abergele, N. Wales, July 3rd, 1855.

Sir, — In acknowledging your favour of the 28th June, forwarded to me here, I beg to express the great pleasure I have in remembering my early acquaintance with Mr. David Cox, and the gratification it has afforded me to observe his rise to such distinguished eminence in his art.

I beg you will do me the favour to convey the expression of my admiration, with my best wishes, to your distinguished townsman ; with which I beg to enclose my subscription.

I remain, Sir,

Your very Obedient Servant,

W. C. M ACRE AD Y.

To Mr. Wm. Hall.

Chapter II

Removal to London — Marriage and Early Struggles — Appointed Drawing* master at the Military College at Farnham.

After leaving Macready and the theatre, David Cox spent some little time in Birmingham with his parents, making sketches in the neighbourhood, and looking about for some opening by which to earn a living by his pencil. He had a strong desire to settle in London, where he hoped to meet with encouragement in the pursuit of his art ; and having a prospect of some temporary employment at Astley’s Circus, he left his native town in the year 1804 to seek his fortune in the metropolis. On his arrival in London, accompanied by his mother, the first thing done was to look for comfortable lodgings, and these were met with in Lambeth, at the house of a Mrs. Ragg, who had two daughters residing with her, one of whom — Mary Ragg — Cox was destined to fall in love with, and eventually to marry. Cox's practice as a scene-painter had rendered him expert in the use of the pencil, and failing to obtain at Astley’s the employment he had expected, he resumed his old occupation of making drawings, which he offered to the London print-sellers. He also executed, for some of the provincial theatres, commissions for scenery ; and

DAVID COX.

there is still in existence, in the possession of Mr. John Wood, tobacconist and dealer in pictures, of Wolverhampton, a receipted bill of his, in which he charges the manager of the then theatre at that place with “ 310 square yards of scenery, at four shillings per yard.”

Cox’s prices for the small drawings he sold at this time were curiously low. Two guineas per dozen was his regular charge for subjects in Indian ink or sepia, which were disposed of by the dealers to country drawing masters chiefly, who visited London twice a year to purchase “ copies ” for the use of their pupils. Another water-colour painter with whom Cox formed an intimacy at that time — the great architectural draughtsman, Samuel Prout, — was then likewise occupied in a similar manner ; and it was arranged between them, in order to avoid collision, that they should offer their productions at different shops, Cox keeping to one shop and Prout to the other, as at that period there were only two places of any note at which a sufficiently large stock of drawings was kept to afford a choice to customers. A few of these early works, by both artists, are still to be met with. In wandering through the streets of London, Cox made many a halt at the windows in which pictures were exhibited for sale, studying attentively the best of those productions, and gathering hints for his own practice. Many a pleasurable half-hour, as he has often said, did he spend in this manner. The drawings of Havell and John Yarley he greatly admired, especially those by

TAKES LESSONS FROM JOHN VALLEY.

the latter artist ; and he determined ont of his scanty earnings, if possible, to obtain a few lessons from Varley. The terms were half a guinea a lesson — a large sum to Cox in those days — but he was fully aware of the value of such instruction, and resolved to devote the little money he could spare to be put at the outset in the right way. Accordingly he called upon Varley, and received one or two lessons, for which he paid the customary fee. On going again for another lesson Varley said to him, “ What is your object in coming to me for instruction? Are you not an artist? ” “I am trying to be one,” replied Cox. “Oh, then come whenever you please and see me work,” rejoined Varley; “I will take no more money from you .” Cox always expressed a high opinion of Varley ’s abilities, and often spoke with emotion of his great kindness to him at that time.

Notwithstanding the modest manner in which David Cox spoke of himself to Varley, as “trying to be an artist,” he had firmly resolved in his own mind to become one, if assiduous study, labour, and perseverance, could make him one. He spared no pains to inform himself of the principles on which the great masters had worked ; he bought engravings from their productions, which he attentively studied ; and he diligently copied pictures as opportunity afforded. He told the writer that he once made a copy of a fine landscape by Gaspar Poussin, of whose works he had a high opinion. The picture could not be removed from the owner’s possession, and he went day after day until his task was

DAVID COX .

completed, painting under great difficulties in a dealer’s shop.

The scenery of the Thames afforded many subjects for Cox’s pencil ; and he worked industriously in sketching from nature in the environs of London, picking up quaint rustic bits, and drawing picturesque old buildings, then found in every direction, as well as in delineating the more captivating features of rural landscape. Many drawings of this character were made during the summer and autumn of 1804.

In the following year he took his first trip into North Wales, and visited some of the most romantic spots in the Principality. The sketches he made on that occasion were chiefly in outline, and in Indian Ink. The author has possessed one of the pen-and-ink drawings Cox made on this journey. The subject is a picturesque bridge spanning a river ; a rocky height on the left, a distant mountain, and some bushes and weeds in the foreground. On the back is written, “ Half a mile from Dinas Mowddy, July 17th, 1805. D. Cox.” This sketch, interesting from its early date, is in the possession of one of the artist’s enthusiastic admirers, Mr. Holbrook Gaskell, of Liverpool, to whom the author presented it. Cox made a considerable number of sketches during that first trip into Wales, from which, on his return to London, he executed more elaborate drawings for sale. In the succeeding year, 1806, he again visited North Wales, accompanied by one or two brother artists, and made drawings in colours ; but his colours were few and simple, and his effects of course were not very striking.

MABRIES : SETTLES AT DULWICH : 1808.

Whilst earning a precarious subsistence by making drawings for sale to the dealers, and sometimes painting scenery for the provincial theatres, David Cox fell in love with and married the eldest daughter of his landlady, Miss Mary Ragg. This was in the year 1808. By her he had one child, the present Mr. David Cox. Mary Ragg made an excellent and loving wife. She was somewhat older than her husband ; her health was not strong; but she had intellectual tastes, and encouraged Cox in his labours, and gave him steady and helpful support in the many trying struggles of his early married life. She was fond of painting, more especially of the works of her husband, and the author lias seen drawings in the artist’s possession which he declined to part with because they were favourites of his wife’s, and had the name of “ Mary Cox ” written upon them.

Shortly after his marriage he took a small cottage in the neighbourhood of Dulwich, and there resided several years, making drawings on the Common — at that time the frequent resort of the gipsy tribes — and from the surrounding scenery. . In fact, he scoured the country in every direction in search of subjects on which to exercise his skill. Occasionally he paid a visit to Birmingham, to see his parents, who at that time resided in Hill Street, a short distance from the top, oil the right-hand side, where the present Post-office now stands. Whilst staying there he made sketches in the country around, picking up many picturesque subjects ; and he also gave a few lessons in drawing to such as c

DAVID COX.

were desirous of availing themselves of the services of a skilful practitioner. Mr. Edward Everitt, afterwards a well-known Birmingham artist, was one of those who received instruction from Cox when visiting his father and mother. Mr. Everitt has told the writer that, on one occasion, he was taking a lesson at the house in Hill Street, David Cox, junior, being then an infant and sleeping in his cot in the same apartment, when the child suddenly woke up and began to cry. Ho one else being there to attend to him, Cox left his seat, saying, “ Excuse me, Edward ; I must go and hush the baby.” With varying fortunes Cox pursued his art. His struggles to acquire a reputation, and even to live, were sufficiently trying, but he stoutly persisted in his endeavours ; and although often disappointed, and sometimes greatly cast down, he was never turned aside from his aim. In all his difficulties and discouragements he had faith in himself. Even when his fortunes were at the lowest point — the sale of his little drawings at the shops providing but a scanty subsistence — he contrived to keep up his spirits tolerably well, and was never disheartened for long. Once, however, his means were nearly exhausted, and the prospect before him was gloomy in the extreme. He could sell no drawings for a time, and was greatly troubled in mind. His good wife, seeing him so low-spirited, suggested that he should “ try something else.” “ Suppose you were to teach perspective, David ? ” This idea, somewhat startling at first, on reflection commended itself to him, as he thought there were people about — builders and

TRIES TO TEACH PERSPECTIVE.

others — who might like to know a little of the rules of perspective to enable them to draw plans and elevations. Accordingly he resolved to make the experiment, but, as he was not proficient in the science himself, it was necessary that he should become better acquainted with it before undertaking to instruct others. It has been said that the main secret of success in teaching is to he “just one lesson in advance of the pupil.” Now, Cox was exactly in that position — or, at all events, fully resolved to be so ; but to keep ahead in his instructions it was desirable to look into some standard treatise on the subject, and to master the more advanced rules. He was advised that the best book for his purpose was “ Euclid’s Elements of Geometry ; ” he therefore hastened into London to buy a copy. On returning home, he sat down to study Euclid, but had not proceeded far in his task before his brain became confused and his sight somewhat dim. He felt that the difficulties he had encountered were quite insurmountable. Problems were not in his way. In fact, he could make nothing at all of “Euclid.” This was unfortunate, as, having previously hung in his window a card, with the notification “Perspective Taught Here,” neatly printed upon it, he had received one application for lessons from a neighbouring carpenter, or small builder, who thought that acquaintance with the rules of perspective would be useful to him in his business. The new pupil was coming on the following morning to have his first lesson. Cox was in a great flurry, and entirely at a loss what to do. He turned over the pages c 2