Isaac Henzell emerges from the annals of British art history as a figure whose contributions, though perhaps not as widely celebrated as some of his contemporaries, offer a valuable glimpse into the artistic currents of his time. Primarily recognized as a painter, Henzell's work is often associated with the rich tradition of British landscape and genre painting, capturing the essence of rural and coastal life with a dedicated eye for detail and atmosphere. While specific biographical details can sometimes be elusive, an examination of his known works, the artistic environment in which he operated, and potential familial connections to artisanal traditions allows for a more comprehensive appreciation of his practice.
The Henzell name itself carries historical resonance in Britain, particularly in regions like Newcastle, where a family of that name was renowned for glass-making from the 17th century onwards. This earlier Isaac Henzell, a glass-maker of "broad-glass," was a respected "gentleman" craftsman in the late 17th and early 18th centuries, with sons like Bartholomew and Moses Henzell continuing the trade. While the direct lineage to Isaac Henzell the painter is not always explicitly drawn in art historical records, such a background in skilled craftsmanship could well have instilled an appreciation for meticulous work and material understanding that might have later informed an artistic sensibility.
Navigating an Artistic Path: Early Influences and Choices
The journey of an artist is often shaped by a confluence of personal experiences, formal training, and the broader cultural milieu. For Isaac Henzell the painter, who appears to have been active primarily in the 19th century based on the style and auction records of his works, this period was one of significant artistic dynamism in Britain and across Europe.
One intriguing, though perhaps apocryphal or relating to a different individual of the same name, biographical thread suggests a period of spiritual exploration. It is mentioned that an Isaac Henzell briefly joined the Dominican friars in France. This experience, even if not leading to a lifelong monastic commitment, could have offered a unique perspective on life, contemplation, and perhaps even visual traditions within religious art, which often emphasize narrative and symbolism. Such a path, diverging from a purely secular artistic training, might have added a distinct layer to his worldview.
More concretely, in terms of artistic development, it is recorded that an Isaac Henzell, likely the painter in question, sought tutelage under the esteemed Belgian painter Baron Henri Leys (1815-1869) around 1863. Leys was a pivotal figure in Belgian Romanticism and later a proponent of historical realism, known for his meticulously detailed and historically evocative scenes. Studying with a master of Leys's calibre would have exposed Henzell to rigorous academic training, a strong emphasis on draughtsmanship, and the prevailing continental tastes for historical and genre subjects rendered with precision. This connection places Henzell firmly within the artistic currents of the mid-19th century.
The influence of family, too, cannot be discounted. The painter Charles Napier Hemy (1841-1917), a notable marine artist, was reportedly the nephew of an Isaac Henzell. This elder Henzell is said to have significantly influenced Hemy's early life, particularly encouraging his experiences at sea. If this refers to Isaac Henzell the painter, it suggests a personal connection to maritime life or at least a deep appreciation for it, which could have manifested in his own artistic themes or his mentorship of a younger, sea-loving relative.
The Canvas of Britain: Style, Subject, and Representative Works
Isaac Henzell's artistic output, as evidenced by surviving works and auction records, aligns with the strong British tradition of landscape and genre painting that flourished throughout the 19th century. His style can generally be characterized by its naturalism, a careful observation of the environment, and a sympathetic portrayal of human activity within it. He worked primarily in oils, a medium that allowed for rich colour and detailed rendering.
His subjects often revolved around the British landscape, from bustling urban scenes to the rugged coastlines and pastoral interiors of Wales and Scotland. This focus reflects a broader Romantic and Victorian fascination with the national landscape, its diverse character, and the lives of its inhabitants.
"Lobster Gatherers"
One of Henzell's notable works is "Lobster Gatherers." This oil on canvas, measuring approximately 36 x 28 cm, depicts a scene of coastal labour. While the specifics of its composition would require direct viewing, the title itself evokes a common theme in 19th-century maritime art: the hardy lives of fisherfolk. One can imagine a rugged shoreline, perhaps under a dramatic sky, with figures engaged in the arduous task of collecting lobster pots. Such paintings often aimed to capture not just the picturesque quality of the coast but also the dignity of labour and the human relationship with the often-unforgiving sea. Artists like Winslow Homer in America, or closer to home, Walter Langley of the Newlyn School, explored similar themes of coastal communities, though often with different stylistic emphases. Henzell's approach was likely rooted in the detailed realism prevalent in much of British genre painting of the era.
"City Scene"
Another work, titled "City Scene" (approximately 19.5 x 25.5 cm), suggests Henzell also turned his attention to urban environments. The 19th century was a period of immense urban growth and transformation in Britain, and cityscapes became a subject of increasing interest for artists. These could range from grand ceremonial views to more intimate depictions of daily life in the streets. Without further details, one can only speculate whether Henzell's "City Scene" captured the architectural grandeur of a civic space, the bustling commerce of a marketplace, or the quieter corners of urban existence. Artists like Atkinson Grimshaw, with his moonlit urban and dockland scenes, or the French Impressionists like Camille Pissarro and Claude Monet, who famously painted London, showcase the diverse artistic responses to the modern city. Henzell's "City Scene" would have contributed to this visual record of urban life.
Landscapes of Wales and Scotland: "Beddgelert, Wales" and "Loch Oich, Scotland"
Henzell's oeuvre also includes specific landscape views, such as "English School, oil on board, Beddgelert Wales" (14cm x 21cm) and "English School, oil on board, Loch Oich Scotland" (14cm x 21.5cm). These titles indicate a direct engagement with the picturesque and often wild beauty of these regions, which were popular destinations for artists seeking dramatic and unspoiled scenery.
Beddgelert, in the heart of Snowdonia, Wales, is renowned for its stunning mountain landscapes, rivers, and historical legends. A painting of this location would likely feature these elements, perhaps capturing the interplay of light and shadow on the hills or the tranquil flow of the River Glaslyn. The tradition of depicting Welsh landscapes was well-established, with artists like Richard Wilson in the 18th century and later J.M.W. Turner and David Cox creating iconic images of the region. Henzell would have been working within this rich visual heritage.
Similarly, Loch Oich in the Scottish Highlands offers a wealth of picturesque material, with its serene waters, surrounding hills, and often moody atmospheric conditions. Scottish landscapes were a powerful source of inspiration for Romantic and Victorian artists, including Horatio McCulloch and Alexander Nasmyth, who celebrated the grandeur and distinctive character of the Highlands. Henzell's depiction of Loch Oich would have contributed to this artistic exploration of Scotland's natural beauty. The relatively small scale of these works on board suggests they might have been plein air sketches or more intimate, finished pieces intended for a domestic market.
The Artistic Milieu: Contemporaries and Movements
Isaac Henzell practiced his art during a period of immense variety and change in the British art world. The Royal Academy of Arts, though still a dominant institution, faced challenges from emerging movements and independent artists. Landscape painting, elevated by masters like John Constable and J.M.W. Turner in the earlier part of the century, continued to be a vital genre. The Pre-Raphaelite Brotherhood, founded in 1848 by artists like William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, advocated for a return to the detail, intense colour, and complex compositions of Quattrocento Italian art, often with a focus on literary, religious, or moral themes.
While Henzell's style, from the descriptions of his work, seems more aligned with mainstream naturalism and genre painting than with the radicalism of the Pre-Raphaelites, he would have been aware of these diverse currents. The Victorian era also saw a burgeoning market for art, fueled by a growing middle class, and a proliferation of exhibitions and publications that disseminated artistic ideas.
His contemporaries in marine and coastal painting, beyond his nephew Charles Napier Hemy, included figures like Thomas Luny (1759-1837), whose career bridged the late 18th and early 19th centuries, and Clarkson Stanfield (1793-1867), renowned for his dramatic seascapes and large-scale dioramas. If Henzell's "Lobster Gatherers" indeed captured the human element of coastal life, his work might also resonate with the social realism found in the paintings of the Newlyn School artists like Frank Bramley and Stanhope Forbes, though they emerged slightly later in the century.
In landscape, the legacy of Constable and Turner loomed large, but many other artists carved out their own niches. Myles Birket Foster (1825-1899) became immensely popular for his idyllic watercolours of English rural life, while artists like Benjamin Williams Leader (1831-1923) produced large, highly finished landscapes that appealed to Victorian tastes. Henzell's depictions of specific locales like Beddgelert and Loch Oich place him within this broad stream of landscape artists who sought to capture the particular character of the British Isles.
The mention of "Thomas Ikbell Cammarder" (1758-1824) or "Thomas Condamine" (as he is sometimes referred to) as a contemporary, though slightly earlier, points to the network of artists active during this period. Cammarder, known for his watercolours, including maritime subjects like "The Brigg Beckford," represents another facet of the artistic production of the time.
Henzell's Legacy and the Challenges of Art Historical Reconstruction
Reconstructing the full career and impact of an artist like Isaac Henzell can be challenging. Unlike artists who achieve widespread fame during their lifetime or are championed by influential critics, many skilled painters contribute to the artistic fabric of their era without leaving extensive biographical records or a large, easily traceable body of work. Their paintings may be in private collections, their exhibition history scattered, and their personal papers lost to time.
The available information suggests Isaac Henzell was a competent and dedicated painter working within established genres of 19th-century British art. His choice of subjects – coastal labour, city views, and specific landscapes in Wales and Scotland – reflects the artistic interests of his time. His connection with Baron Henri Leys indicates a serious commitment to artistic training, and his potential influence on Charles Napier Hemy suggests a role within a familial artistic network.
The fact that his works, such as "Lobster Gatherers" and "City Scene," have appeared at auction indicates a continued, if modest, presence in the art market. These sales provide valuable, albeit piecemeal, evidence of his output and the types of scenes he favored. The descriptions often categorize his work as "English School," a term used when the specific attribution is sound but the artist may not be widely known, or when the work is characteristic of the broader national style of the period.
The Henzell family's earlier history in glass-making in Newcastle provides an interesting backdrop. While the 17th/18th-century Isaac Henzell, the glass-maker, was a "gentleman" of his craft, the 19th-century Isaac Henzell, the painter, pursued a different form of artistry. Whether this was a conscious departure or simply a reflection of changing opportunities and individual talents, it highlights the diverse paths taken by individuals within a family lineage over generations. The story of Moses Henzell, son of the glass-maker Isaac, receiving a lantern clock made by Richard Smith de Novo for his wedding in 1669, speaks to a world of artisanal skill and patronage that, while different from the fine art world of the 19th century, shares a common thread of creative production and aesthetic appreciation.
Conclusion: Appreciating a Dedicated Craftsman of the Brush
Isaac Henzell the painter stands as a representative of the many artists who contributed to the rich tapestry of 19th-century British art. His works, focusing on the landscapes and life of Britain, reflect a commitment to naturalistic representation and an engagement with the popular themes of his era. From the rugged coasts where lobster gatherers toiled, to the specific topographies of Welsh valleys and Scottish lochs, and even to the dynamic environment of the city, Henzell sought to capture the world around him in oil paint.
While he may not have achieved the towering fame of a Turner or a Constable, or the revolutionary impact of the Pre-Raphaelites, his paintings offer their own quiet pleasures and historical insights. They speak to a dedication to craft, an observant eye, and a desire to record and interpret the British scene. His potential tutelage under Baron Henri Leys and his connection to Charles Napier Hemy place him within the active artistic networks of his time.
Further research and the potential rediscovery of more of his works might illuminate his career more fully. However, based on what is currently known, Isaac Henzell can be appreciated as a skilled British painter who, through his depictions of coastal life, urban scenes, and picturesque landscapes, played his part in the ongoing artistic dialogue of the 19th century. His art serves as a reminder of the depth and breadth of talent that characterized this vibrant period in British art history, a period that saw artists exploring their national identity and the changing world around them with unprecedented fervor and diversity. The legacy of artists like Henzell lies in their contribution to this collective visual record, offering enduring glimpses into the Britain of their time.
