The preparatory study consists of a signed black ink and graphite drawing with red ink grid executed on off-white laid paper of good quality. Harold Gilman’s handwritten notes in graphite and ink are inscribed on the verso, describing relationships of space and light:
[graphite] 8 girders from top line of gable | 8th above top join | 1st in line with gable | spacing of girders between | centre row and right centre? [ink] a triple circle | [graphite] drawing of space between bottom line of gable and top line of gable
[graphite] Continuation of second girder against light? | [ink] yes but not so much light seen here | [graphite] drawing of right centre row and last right row | drawing of beam above green beam | left boards of roof
Nothing be | No sky below second terminus from top except for gable
The paper support was probably torn from a sketchbook; the bottom of the sheet has a deckle edge and the left edge, which would correspond to the bound edge, has been torn. The top and right edges have both been folded and then cut outside of the fold to create a slightly larger sheet size. Pin holes in the corners relate to the original and revised dimension of the sheet and indicate that it was pinned to a board when the drawing was executed or the design was transferred. The red ink grid was first squared up to the bottom and left edges and the top and right edges folded. Gilman then applied a first black ink drawing over the red grid. The paper was unfolded and the red ink grid extended to add three rows to the vertical length and one row to the horizontal length. At this point, the grid measured approximately 6 x 6 mm and is numbered along on all four sides, running 1–51 along the horizontals and 1–43 along the verticals, as they were squared-up. Gilman signed the work in blue ink, which has subsequently faded. Further drawing in black ink was then applied and this was followed by drawing, annotation and re-enforcement of the signature in graphite. There is no trace of graphite drawing beneath the red grid. All that is now visible was applied at the last stage of drawing.
How to cite
Sarah Morgan and Tomoko Kawamura, 'Technique and Condition', November 2004, in Robert Upstone, ‘Study for ‘Leeds Market’ c.1913 by Harold Gilman’, catalogue entry, May 2009, in Helena Bonett, Ysanne Holt, Jennifer Mundy (eds.), The Camden Town Group in Context, Tate Research Publication, May 2012, https://www.tate.org.uk/art/research-publications/camden-town-group/harold-gilman-study-for-leeds-market-r1139854, accessed 19 January 2020.