Mary Dawson Elwell oil painting
A painting simply referred to as 'interior study' by Mary Dawson Elwell. At a desk is seated an elderly man, illuminated by light falling from windows beyond our view. It is a private and intimate moment. The man's inclined back is slightly turned towards the viewer and with a pen in his right hand and a sheet of paper on the desk; he looks down at the task in hand, quietly absorbed. #SUBHEADING#The setting#SUBHEADINGEND# The setting of this painting has recently been identified as No 14. Newbegin, a residence in the heart of Beverley. The house dates from the 17th century and at the time of this painting, in 1932, was divided into 2 properties, nos. 14 & 16. The house is now simply known as Newbegin House and is tantalizingly out of view for the casual passer by. The date of the house is revealed by the deeply moulded panelling which is deeply moulded to dado level, in a style which predates the 1830s. It is a ground floor room actually lit by three tall windows, only one is visible in this painting. #SUBHEADING#The sitter#SUBHEADINGEND# The sitter is most probably the resident, a Reverend Wigfall, the perpetual curate at Beverley Minster and St John's Chapel, Lairgate, which is now know as the Memorial Hall. The detailed interior begs lots of questions about Wigfall's interests, but it certainly suggests he was a cultured and learned man. An elaborately carved African hardwood bookcase is lined with an impressive array of books and in front of this is what appears to be a design folder. To the right are a cello case and a music stand with sheet music resting upon it. The stuffed birds in cases on top of the bookcase also suggest that Wigfall, or a previous occupant, was perhaps an ornithologist. #SUBHEADING#The artist#SUBHEADING# Mary Dawson Elwell (formally Bishop), as her surname indicates, Mary was indeed married to the rather better known artist and society figure, Beverley-born Fred Elwell. Despite recent research there is a stark contrast between her art, both in terms of the scale and quality of her output, and the general poverty of public awareness. Mary's love of decoration is also evident in the careful and deliberate placing of the exotic cushion on the arm of the sofa, with a striking pattern of gold, green, red and black. Although Mary was not part of any group of artists, she lived at an exciting and progressive time and with frequent trips to London, and visits to Bar House by fellow artists, Mary must have been influenced and provoked by contemporary developments. What is clearly apparent, though, is that this painting is a highly decorative and modern picture, in tune with contemporary developments, which asserts her achievements as a highly accomplished and creative artist.
