The Camden Town Group in Context

ISBN 978-1-84976-385-1

Harold Gilman Study for 'Leeds Market' c.1913

Harold Gilman’s finished oil painting, Leeds Market (Tate N04373), follows the composition of this pen and ink drawing aside from small adjustments to the figures in the foreground. This study reveals Gilman’s close attention to the intricate architecture of the roof; on the reverse, handwritten notes describe the girders and beams with the light filtering through.
Harold Gilman 1876–1919
Study for ‘Leeds Market’
c.1913
Ink and graphite on paper
250 x 297 mm
Inscribed ‘H. Gilman’ bottom right
Purchased from Leger Galleries, London, (Grant-in-Aid) 1957
T00143

Entry

The composition of this drawing is mostly the same as that of the finished oil (Tate N04373, fig.1). The squaring-up suggests that Harold Gilman worked from it directly, but there are certain differences, including the arrangement of the figures in the foreground, and the absence in the drawing of the pair of figures on the extreme right of the painting. The study is a little less than half the size of the painting and bears a numbered grid in red ink over it for transfer. Like the Study for ‘Canal Bridge, Flekkefjord’ (Tate T00026), it bears numerous colour notes. It is interesting to compare it with Muirhead Bone’s Study for ‘The Great Gantry, Charing Cross Station’ 1906 (Tate N02300, fig.2).
Harold Gilman 'Leeds Market' c.1913
Fig.1
Harold Gilman
Leeds Market c.1913
Tate N04273
Sir Muirhead Bone 'Study for `The Great Gantry, Charing Cross Station'' 1906
Fig.2
Sir Muirhead Bone
Study for `The Great Gantry, Charing Cross Station' 1906
Tate N02300
© The estate of Sir Muirhead Bone


The first owner of this drawing was Sir Louis Fergusson (1878–1962), who recalled in a letter to the Tate Gallery dated 1 June 1957:
My diary reminds me that on 10th March 1916 Gilman and I dined at the Sceptre in Warwick Street and then repaired to his lodgings in 47 Maple Street ‘for a very long chatter about art’. I already had a couple of his paintings and on this occasion persuaded him to let me have some drawings. He showed me scores of them and was most anxious for me to choose ones which he himself thought good. He distinctly told me that he had never yet drawn for exhibition or exhibited his drawings.1
Fergusson was a committed patron of the Camden Town Group, who also owned Spencer Gore’s Inez and Taki (see Tate N05859 for an account of Fergusson’s career). With Wyndham Lewis, Fergusson wrote Harold Gilman: An Appreciation, which appeared after Gilman’s death in 1919. ‘Gore introduced me to Gilman at 19 Fitzroy Street in December 1908’, Fergusson recalled, ‘on one of those delightful Saturday afternoons when you were free to feast your eyes on relay after relay of what were mostly little pictures for little patrons.’2

Robert Upstone
May 2009

Notes

1
Louis Fergusson, letter to Tate Gallery, 1 June 1957, Tate Catalogue file.
2
Wyndham Lewis and Louis F. Fergusson, Harold Gilman: An Appreciation, London 1919, p.19.

How to cite

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.