George Weatherill stands as a significant figure in the rich tradition of British watercolour painting, particularly celebrated for his intimate and atmospheric depictions of the North Yorkshire coast. Active during the Victorian era, Weatherill carved a unique niche for himself, not through London's grand academies, but through dedicated self-study and an unwavering focus on the landscapes and seascapes surrounding his adopted home of Whitby. His meticulous technique, sensitivity to light, and profound connection to place earned him considerable respect and the evocative moniker, "The Turner of the North."
From Staithes to Whitby: An Artist's Awakening
George Weatherill was born in 1810 in the picturesque fishing village of Staithes, nestled on the rugged coastline of North Yorkshire. His family background was rooted in farming, a world seemingly distant from the fine arts. Despite this, young George displayed an early and innate aptitude for drawing and a keen observational eye. The dramatic cliffs, bustling harbour life, and ever-changing sea and sky of Staithes undoubtedly provided his first, formative inspirations.
Unlike many of his contemporaries who benefited from formal artistic education in London or abroad, Weatherill was entirely self-taught. His artistic development was a journey of personal discovery, driven by passion and relentless practice. He spent countless hours sketching the coastal scenery, learning directly from nature, honing his ability to capture the specific light and atmosphere of his environment. This lack of formal training perhaps contributed to the unique freshness and authenticity found in his work.
His early professional life took a more conventional path. Weatherill initially worked as a clerk, later becoming an assistant in a solicitor's office. This line of work eventually led him to settle in the nearby, larger port town of Whitby. Whitby, with its dramatic abbey ruins perched above the harbour, its bustling quayside, and its deep maritime history, would become the central subject and enduring muse for the rest of his artistic career.
Even while employed in the legal and banking sectors, Weatherill continued to pursue his art with dedication. He balanced the demands of his day job with his passion for painting, gradually building a reputation for his skillful watercolours. Whitby and its environs offered an inexhaustible supply of subjects, from panoramic views of the harbour entrance to detailed studies of fishing boats and quiet coastal paths.
A Dedication Forged in Adversity
Weatherill's commitment to his art was tested. For many years, he worked diligently at the Whitby Old Bank. The pressures associated with this profession, however, began to take a toll on his health. Around 1860, when Weatherill was fifty years old, he suffered from what was described as nervous debility, likely exacerbated by the stresses of his banking career.
This health crisis proved to be a pivotal turning point. Faced with the need to prioritize his well-being, Weatherill made the courageous decision to resign from his position at the bank. This allowed him to dedicate himself entirely to his true calling: painting. It was a leap of faith, moving from the security of a steady income to the uncertainties of life as a full-time professional artist.
Remarkably, this transition was not only beneficial for his health but also proved financially successful. The demand for his exquisitely detailed and atmospheric watercolours grew steadily. He found that his income derived solely from his art eventually surpassed the combined earnings he had previously made from both banking and part-time painting. This success validated his decision and affirmed the high regard in which his work was held, particularly among collectors in the North of England.
Weatherill never sought widespread public fame or courted the London art establishment in the way some artists did. He seemed content with the appreciation of those who understood and valued his intimate portrayals of the Yorkshire coast. His primary patrons were often the successful industrialists and merchants of the North, who recognised the quality and authenticity of his vision.
The Essence of Whitby: Subject and Style
George Weatherill's name is inextricably linked with Whitby. His oeuvre is a comprehensive visual chronicle of the town, its harbour, its surrounding coastline, and the nearby moors during the mid-to-late 19th century. He painted Whitby in all its moods and seasons: the bustling harbour filled with collier brigs and fishing cobles, the tranquil Esk River winding inland, the dramatic cliffs under stormy skies, and the serene beauty of sunrise or sunset over the North Sea.
His style is characterized by meticulous detail and an extraordinary sensitivity to light and atmosphere. Working primarily in watercolour, often on a small, almost miniature scale, Weatherill achieved remarkable precision. His draftsmanship was superb, allowing him to render the complex rigging of ships, the textures of stone buildings, and the subtle forms of landscapes with great accuracy.
However, his work transcends mere topographical accuracy. Weatherill possessed a poet's eye for the nuances of light. He was particularly adept at capturing the delicate effects of dawn and dusk, the hazy light of a summer afternoon, or the dramatic interplay of light and shadow under gathering clouds. His skies are often luminous, and his treatment of water, whether calm or turbulent, demonstrates a deep understanding of reflection and transparency.
This focus on light and atmosphere led to comparisons with the great master of British landscape painting, J.M.W. Turner. While Weatherill's style remained distinctly his own, the influence of Turner is undeniable, particularly in his more atmospheric pieces and his fascination with transient light effects. The nickname "The Turner of the North" reflects this perceived affinity, acknowledging Weatherill's mastery in capturing the unique light and spirit of his specific northern locale, much as Turner captured the elemental forces of nature on a grander scale.
Beyond watercolour, Weatherill also explored the medium of etching. Influenced perhaps by Turner's Liber Studiorum, he produced a number of fine etchings, again focusing on local scenes. His dedication to self-improvement was notable; sources suggest he undertook rigorous self-study, examining the techniques of earlier masters, possibly including those from the Italian Renaissance, not necessarily to imitate but to deepen his understanding of composition, form, and technique. This dedication contributed to the sophisticated quality of his seemingly effortless watercolours.
Representative Works: Capturing the Coast
While a comprehensive catalogue is complex, several known works and descriptions exemplify Weatherill's artistry:
'Sandsend near Whitby': This watercolour, though modest in size (10 x 11.5 cm), likely captures the charm of the nearby village of Sandsend, perhaps focusing on its distinctive alum works or coastal cottages. The signature on the verso is typical of his practice.
Harbour Studies: Several works fit this description. One detailed watercolour depicts a harbour scene (likely Whitby) within a 19th-century gilt frame, featuring sailing vessels, rowing boats, figures on the quayside, and the iconic twin lighthouses of Whitby harbour. Another small, atmospheric watercolour shows a harbour scene under a prominent moon, emphasizing mood and light over precise detail.
Paired Harbour Scenes: A pair of slightly larger watercolours (12 x 20 cm) continues the theme of moonlit harbour scenes, suggesting Weatherill frequently returned to this subject, exploring different compositions and light conditions. The presence of pairs indicates potential commissions or a series exploring variations on a theme.
'Family on the beach at Runswick Bay' (1845): This miniature watercolour provides an early dated example of his work, showcasing his ability to handle figures within a landscape setting and capturing the specific character of another nearby coastal village, Runswick Bay.
Whitby Harbour Views: Many of Weatherill's most iconic works depict Whitby harbour from various vantage points – looking out to sea, viewing the Abbey from across the harbour, or focusing on the bustling activity along the piers and quays. These often feature the distinctive red-tiled roofs of the old town tumbling down to the waterside.
Coastal Scenes: Beyond the harbour, he painted the surrounding cliffs, beaches, and coastal paths, capturing the unique geology and atmosphere of the North Yorkshire coast.
These examples highlight his recurring themes: the interplay of boats and water, the architecture of the harbour towns, the effects of light (especially sunrise, sunset, and moonlight), and the broader coastal landscape. His works serve as invaluable historical documents as well as exquisite pieces of art.
An Artistic Dynasty: The Weatherill Family
George Weatherill's artistic talent was not confined to him alone. Although he never married, he had four children who inherited his artistic inclinations, creating a remarkable family legacy centred around the depiction of their shared environment.
His daughter, Mary Weatherill (1834-1913), became a highly accomplished watercolourist in her own right. She worked closely alongside her father, sharing his love for the local scenery. Her style often mirrors his in its delicacy and attention to detail, though she developed her own distinct voice. Mary's works are highly regarded and contribute significantly to the visual record of the Whitby area. She, like her father, focused on watercolour landscapes and coastal scenes.
Another notable artistic descendant was his son, Richard Weatherill (1844-1923). While also an artist, Richard primarily worked in oils, diverging slightly from the family's watercolour focus. He shared the family's passion for Whitby's maritime heritage. His most lasting contribution, besides his paintings, was the publication of the book The Ancient Port of Whitby and its Shipping in 1908. This meticulously researched volume, illustrated with drawings (likely including some by family members), remains an important historical resource.
The collective output of George Weatherill and his artist children forms a significant part of the artistic heritage associated with the Staithes and Whitby area. Their work predates the more famous Staithes Art Group (which flourished slightly later, around the turn of the 20th century), but they laid the groundwork, establishing a tradition of artists finding profound inspiration in this specific stretch of the Yorkshire coast. Their shared dedication to capturing their home environment makes the Weatherill family unique in the annals of regional British art.
Exhibitions, Recognition, and Context
Despite the high quality of his work, George Weatherill was not a prolific exhibitor on the national stage. His focus remained regional, and his satisfaction seemed derived from his work itself and the appreciation of local patrons. However, his work was not entirely unseen outside Yorkshire.
He is known to have exhibited works in London, primarily at the Society of British Artists (now the Royal Society of British Artists) on Suffolk Street and at the Dudley Gallery. These venues were important platforms for artists, including many watercolourists, who operated outside the stricter confines of the Royal Academy. Records indicate he exhibited a number of works at these locations over the years.
Claims regarding exhibitions at the National Gallery or Tate Gallery during his lifetime are less certain and may refer to later acquisitions or specific types of displays. Today, his works are indeed held in public collections, including the Pannett Art Gallery in Whitby (which houses a significant collection related to the Weatherill family and the Staithes Group) and the Whitby Museum, which holds around thirty works by George and his family. His paintings also appear regularly at auction houses, such as Parker Fine Art Auctions and David Duggleby Auctions, consistently commanding respectable prices, demonstrating their enduring appeal to collectors.
To place Weatherill in context, he worked during a vibrant period for British landscape painting. His primary influence, J.M.W. Turner (1775-1851), had revolutionized the depiction of light and atmosphere. Weatherill absorbed these lessons while maintaining his own detailed style. He was a contemporary of other notable watercolourists who celebrated the British landscape, such as David Cox (1783-1859) and Peter De Wint (1784-1849), though his focus was more geographically concentrated.
Within his specific region, other artists depicted the Yorkshire coast. George Chambers Snr (1803-1840), a marine painter with Whitby connections, was an earlier figure. A closer contemporary active in the area was Alfred William Hunt (1830-1896), another highly skilled watercolourist known for his atmospheric landscapes, often depicting scenes in the North East, including Durham and the coast. While direct collaboration isn't documented, these artists likely knew of each other's work, operating within the same regional artistic milieu.
Later artists associated with the Staithes Art Group, such as Dame Laura Knight (1877-1970), Harold Knight (1874-1961), Frederick William Jackson (1859-1918), and Owen Bowen (1873-1967), would bring international recognition to the area Weatherill had so faithfully depicted. While Weatherill was not formally part of this later group, his work forms an essential precursor, establishing the artistic potential of the local scenery. Other significant Victorian watercolourists whose work provides context include John Sell Cotman (1782-1842) of the Norwich School, marine specialists like Clarkson Stanfield (1793-1867) and William Callow (1812-1908), and popular landscape painters like Myles Birket Foster (1825-1899). Weatherill's detailed yet atmospheric style finds echoes across this diverse landscape tradition.
Legacy: Whitby's Faithful Chronicler
George Weatherill passed away on August 30, 1890, at the age of 80. He was buried in Whitby Cemetery, overlooking the town and sea he had spent a lifetime painting. His legacy is multi-faceted. He remains one of the foremost artistic interpreters of Whitby and the North Yorkshire coast, his works cherished for their beauty, technical skill, and historical value.
His dedication to self-teaching and his successful transition to a full-time artist later in life offer an inspiring story of passion pursued. The continuation of his artistic vision through his children, particularly Mary, highlights a unique family contribution to British regional art.
The title "Turner of the North," while perhaps an oversimplification, captures the essence of his achievement: a mastery of light and atmosphere applied specifically to his beloved northern environment. He may not have sought the limelight, but George Weatherill's quiet dedication resulted in a body of work that continues to resonate with viewers today, offering intimate glimpses into the soul of Victorian Whitby. His paintings are more than just landscapes; they are heartfelt portraits of a place, rendered with exceptional skill and enduring affection.
