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Artist:THOMAS CRESWICK
Type:Print
Size:Small
Item Height:22 cm
Theme:Inspirational,Maritime,Lighthouses,Coastal Landscapes
Features:Framed,Mounted,Under Glass
Item Length:1.3 cm
Framing:Framed
Production Technique:Lithography
Subject:England,Landscape,Seafaring,Seascape,Seaside,Ships,Wales
Culture:English
Item Width:27 cm
InterestingFRAMED PRINTof a PaintingofSOUTH STACKLIGHTHOUSEby THOMAS CRESWICKSize: 27 x 22 cm A delightful illustration of a stormy SOUTH STACK LIGHTHOUSE, with ships struggling in the sea. The wooden frame has tight corners and is strung, ready to hang. * Prompt Posting 7days/week * As the fog gradually dies away, the lighthouse becomes revealed with the island rock it stands upon. This is the South Stack: a great mass of seamed and crannied rock torn off from the cliffs and standing as an island, itself rising to a height of 212 feet above high water, and looked down upon by sheer granite cliffs three hundred feet taller. In the narrow chasm below the sea dashes savagely in and out of the gloomy caverns, with a sound like muffled thunder. The grandeur and scale of this terrific scene—a fitting climax to all the varied scenery of the Holyhead Road—are not fully realised when looking down upon it. There, on the island rock, stands the white lighthouse, with whitewashed stone walls zigzagging along the verge of its cliffs, and forming a little compound where the store-houses and the cottages of the staff are 324situated; and the whole looks so neat and toy-like that its dimensions are not at first grasped. But when the slow and winding descent to it down the face of the cliff by 381 rude rocky steps has been cautiously accomplished, the awful savagery of the spot is realised. There may possibly be a few places on these coasts to approach the grimly bristling rocks of the South Stack in their wild beauty, but none can surpass them. At the foot of the long descent, but still perched high above the fearful waves that even in calm weather run and recede, hissing and foaming, for a distance of thirty or forty feet up and down the face of the cliffs, is the entrance to a suspension-bridge hung from side to side of the channel. Before this was built, the only means of access was by a line and basket, followed at a little later period by a rope bridge; but the risk was so great that the present one, a miniature reproduction of the Menai Bridge was constructed. Perhaps as remarkable a feature of this strange place as anything else to be seen is the vast concourse of sea-birds inhabiting the rocks—shags, penguins, guillemots, cormorants, sea-gulls, puffins, razor-bills, and even peregrine falcons, screaming and chattering loud enough to drown even the sound of the waves. The lighthouse-keepers and other observers tell how the gulls all migrate to other and warmer climes on or about every 12th of August, returning 325in a body about February 10th. The keepers state that in midst of the February night they are advised of the birds’ arrival by a great noise, as though it were a mutual greeting and cheering. These feathered inhabitants of the South Stack are under the protection of the Government, and are as useful to the Trinity House as any of the lighthouses, buoys, beacons, or fog-horns on the coast; their incredible numbers and deafening noise warning mariners just as effectually as any mechanical devices. As no sportsmen (so-called) are allowed to disturb the birds, they are wonderfully tame, and present an odd sight, row upon row of them perched upon the ledges like some vast and patient audience. The cliffs for long distances are populous with them, and one particularly noisy and turbulent place near the North Stack has acquired the name of the “Parliament House.” THE PAINTER: Thomas Creswick RA (February 1811 – December 1869)Creswick was a British landscapist and illustrator, and one of the best-known members of the Birmingham School of landscapists. He was born in Sheffield (at the time it was within Derbyshire) and was the son of Thomas Creswick and Mary Epworth and educated at Hazelwood, near Birmingham. He first began to paint in Birmingham. His earliest appearance as an exhibitor was in 1827, at the Society of British Artists in London; in the ensuing year he sent to the Royal Academy the two pictures named Llyn Gwynant, Morning, and Carnarvon Castle. About the same time he settled in London; and in 1836 he took a house in Bayswater. He soon attracted some attention as a landscape painter, and had a career of uniform and encouraging, though not signal success. In 1842 he was elected an associate, and in 1850 a full member of the Royal Academy, which, for several years before his death, numbered hardly any other full members representing this branch of art. In his early practice he set an example, then too much needed, of diligent study of nature out of doors, painting on the spot all the substantial part of several of his pictures. English and Welsh streams may be said to have formed his favourite subjects, and generally British rural scenery, mostly under its cheerful, calm and pleasurable aspects, in open daylight. This he rendered with elegant and equable skill, color rather grey in tint, especially in his later years, and more than average technical accomplishment; his works have little to excite, but would, in most conditions of public taste, retain their power to attract. Creswick was industrious and extremely prolific; he produced, besides a steady outpouring of paintings, numerous illustrations for books. He was personally genial, a dark, bulky man, somewhat heavy and graceless in aspect in his later years. He died at his house in Bayswater, Linden Grove, after a few years of declining health. Among his principal works may be named England (1847); Home by the Sands, and a Squally Day (1848); Passing Showers (1849); The Wind on Shore, a First Glimpse of the Sea, and Old Trees (1850); A Mountain Lake, Moonrise (1852); Changeable Weather (1865); also the London Road, a Hundred Years ago; The Weald of Kent; the Valley Mill (a Cornish subject); a Shady Glen; the Windings of a River; the Shade of the Beech Trees; the Course of the Greta; the Wharfe; Glendalough, and other Irish subjects, 1836 to 1840; the Forest Farm Frith for figures, and Ansdell for animals, occasionally worked in collaboration with Creswick.” THE LITHOGRAPHER: Charles Walter Radclyffe (17 January 1817 – 2 February 1903) Radclyffe was a British watercolourist, printmaker and lithographer and the son of artist William Radclyffe (1783–1855). He was elected into the Birmingham Society of Artists in 1846. Radclyffe was a key part of Birmingham Art Societies, exhibiting 454 works between 1846 and 1902. His work was mostly typographical landscapes and urban scenes, including his works for Perry Hall and Blenheim Palace in the mid-1800s.
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