Richard Bankes Harraden (1778–1862) stands as a notable figure in the annals of British art, particularly celebrated for his detailed and evocative depictions of landscapes and architectural vistas. Living and working primarily in Cambridge, Harraden developed a distinct artistic voice, capturing the historic charm and academic grandeur of the university city with a precision that continues to inform and delight. His oeuvre, encompassing watercolours and etchings, provides a valuable visual record of early 19th-century Britain and, to a lesser extent, the landscapes of colonial India.
The Cambridge Canvas: An Artist's Enduring Muse
Cambridge, with its ancient colleges, serene gardens, and bustling academic life, provided Harraden with an inexhaustible source of inspiration. He became intrinsically linked with the city, his works serving as both artistic expressions and historical documents. His dedication to portraying the university and its environs was profound, resulting in a body of work that meticulously details the architectural fabric and the picturesque settings of this renowned centre of learning.
One of Harraden's well-regarded pieces is College Garden, dating from the early 19th century. This work exemplifies his ability to capture the tranquil beauty of Cambridge's collegiate green spaces. Such gardens were, and remain, integral to the identity of the colleges, offering secluded havens for reflection and scholarly pursuit. Harraden’s depiction would have conveyed not just the horticultural elements but also the atmosphere of these cloistered environments, appealing to alumni, residents, and visitors alike. The work is noted in archival records (GB 2014 WS-03-PIC-002/93), underscoring its historical significance.
Another key example of his Cambridge focus is the watercolour Corpus Christi College, Cambridge. This piece showcases the main facade of the college, rendered with Harraden's characteristic attention to architectural detail. Corpus Christi College, with its rich history dating back to the 14th century, presents a complex tapestry of architectural styles. Harraden’s task would have been to translate these stone and timber structures into a two-dimensional image that was both accurate and aesthetically pleasing. This particular work was offered at Dominic Winter Auctioneers on March 7, 2019, with an estimate of £200-300, indicating the continued market interest in his art.
Harraden's depictions extended to other prominent Cambridge institutions. He produced views of Jesus College, known for its spacious grounds and medieval structures, and the iconic King's College Chapel, a masterpiece of late Perpendicular Gothic English architecture. His ability to render the intricate tracery, soaring buttresses, and expansive stained glass windows of such edifices would have been a testament to his skill as a draughtsman. These works were not mere topographical records; they were imbued with a sense of place and history, reflecting the prevailing Romantic appreciation for the picturesque and the sublime in architecture.
Beyond the University: Landscapes and Architectural Studies
While Cambridge was a central theme, Harraden's artistic interests were not confined to the university. He was an accomplished landscape painter, capturing the broader scenery of Cambridgeshire and other regions. In 1823, for instance, he created a pair of watercolours, one depicting a serene Cambridgeshire country house and the other showing fishermen and boaters on a river. These works demonstrate his versatility and his engagement with the British landscape tradition, which was flourishing at the time with artists like John Constable and J.M.W. Turner, though Harraden's style was generally more topographical and less overtly Romantic than Turner's.
His architectural interests also led him to subjects like St James' Church. His painting St James' Church and the Great Churchyard and Norman Tower (presumably referring to St James' Church in Bury St Edmunds, given its Norman Tower and historical links to the Abbey) is considered part of the connection between the Norwich School of painters and the history of Bury St Edmunds Abbey. The Norwich School, which included prominent artists like John Crome and John Sell Cotman, was the first provincial art movement in Britain and emphasized realistic depictions of local landscapes and everyday life. Harraden's association, even if indirect, places him within this important current of British art that valued direct observation and regional identity.
The detailed rendering required for architectural subjects was a hallmark of Harraden's style. This precision was highly valued in an era before photography, when such images served as crucial records of historical buildings and urban environments. Artists like Samuel Prout and Thomas Shotter Boys were also renowned for their architectural views, and Harraden's work can be seen as part of this broader European tradition of veduta painting, or view painting, made famous by artists like Canaletto in Venice, whose influence extended to British artists depicting their own cities.
The Art of the Print: Etchings and Wider Audiences
Richard Bankes Harraden was not only a painter in watercolour but also a skilled printmaker, particularly known for his etchings. Printmaking was a vital medium in the 18th and 19th centuries, allowing for the wider dissemination of images to a growing middle-class audience. Harraden utilized this medium effectively, further cementing his reputation and making his views of Cambridge accessible to a larger public.
A significant series in this regard is his Costumes of the University of Cambridge. This collection of etchings depicted the various academic robes and attire worn by graduates of different degrees. Such works catered to the interest in the traditions and hierarchies of university life and served as mementos for those associated with Cambridge. The creation of such series required not only artistic skill but also careful research into the specific details of academic dress. This aligns with a broader trend of depicting professions and social types, seen in the work of artists like William Hogarth in the previous century, though Harraden's focus was more specific and less satirical.
The technical demands of etching, requiring precision in line work and an understanding of the chemical processes involved, suited Harraden's meticulous approach. His prints would have been produced in editions, sold individually or in bound sets, contributing to the visual culture of the period. Other artists, like Thomas Rowlandson and James Gillray, used printmaking for caricature and social commentary, while Harraden's prints generally maintained a more descriptive and celebratory tone, particularly concerning Cambridge.
An Eastern Interlude: The "Twenty-four Views in Indostan"
Harraden's artistic endeavors also extended to subjects beyond British shores, most notably through his involvement with the Twenty-four Views in Indostan series. This project involved him working on plates based on original designs by Francis Swain Ward (c. 1734–1794), an officer in the East India Company's service who was also an accomplished amateur artist. Ward had produced a series of drawings depicting scenes in India, which were then engraved and published.
Harraden's role was to complete or refine these views for publication. For example, he is credited with working on the second plate in the series, depicting a scene near Fort St. George in Madras (now Chennai). Fort St. George was one of the first British fortresses in India and a significant administrative and military hub. Harraden's task would have been to translate Ward's on-the-spot sketches or more finished drawings into a format suitable for engraving, ensuring accuracy of detail while also creating a visually appealing composition. This often involved interpreting the original artist's intentions and possibly enhancing certain picturesque elements.
This collaboration places Harraden within the context of British artists depicting India, a genre that gained immense popularity as Britain's colonial presence grew. The works of Thomas Daniell and his nephew William Daniell, who travelled extensively in India in the late 18th century producing aquatints for their monumental Oriental Scenery, set a high standard for such views. While Harraden did not travel to India himself, his contribution to Ward's series helped to disseminate images of the subcontinent to a British audience eager for glimpses of this distant and exotic land. These views often focused on historical monuments, picturesque landscapes, and scenes of colonial life, shaping British perceptions of India.
Artistic Style, Influences, and Meticulous Detail
Richard Bankes Harraden's artistic style is characterized by its meticulous attention to detail, fine draughtsmanship, and a generally topographical approach. He aimed for accuracy in his representations, whether depicting the intricate stonework of a Cambridge college or the specific features of a landscape. This precision was a hallmark of much British watercolour painting and architectural rendering of the period, influenced by earlier masters like Paul Sandby, often called the "father of English watercolour."
The provided information suggests that Harraden's art was influenced by prevailing artistic currents, with some commentators drawing parallels between his commitment to detail and the meticulousness later championed by movements such as the Pre-Raphaelites (founded in 1848). While a direct influence from the Pre-Raphaelites on Harraden's established style is chronologically complex, as he was already a mature artist by their emergence, it's possible to see a shared sensibility in the dedication to faithful representation and intricate rendering. His detailed style, developed within the topographical tradition, might have found renewed appreciation or been seen as an antecedent by those who valued the Pre-Raphaelites' emphasis on truth to nature and elaborate detail, as seen in the works of William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti.
However, Harraden's primary stylistic roots lie more firmly in the late 18th and early 19th-century tradition of British topographical art. Artists like Michael "Angelo" Rooker and Thomas Hearne were also known for their detailed architectural and landscape watercolours. The demand for such views was high, driven by tourism, antiquarian interest, and a sense of national pride in Britain's heritage and scenic beauty. Harraden's work fits comfortably within this tradition, providing clear, well-composed, and informative views that also possessed considerable aesthetic charm.
Contemporaries, Collaborations, and the Art Market
Harraden operated within a vibrant artistic community and engaged in collaborations that were common in the print market of the time. He is mentioned alongside artists such as John Dennis and Frederick Jukes. These individuals were likely involved in similar artistic pursuits, producing watercolours and prints for a comparable audience. The early 19th century saw a burgeoning market for prints, and artists often worked with specialist engravers and publishers to bring their works to the public. Jukes, for instance, was a notable aquatint engraver, a process well-suited to reproducing the tonal qualities of watercolour drawings.
His collaboration with Francis Swain Ward on the Indian views has already been noted. Such arrangements, where one artist worked up designs by another (often an amateur or someone whose primary profession was not art), were not uncommon, especially for illustrated books or series of prints depicting foreign lands.
The mention of Barth and King in connection with Harraden's published works suggests they were publishers or perhaps fellow artists involved in joint publishing ventures. Richard Livesay is another name associated with this circle. These connections highlight the collaborative nature of the art world, particularly in the realm of print production and distribution. Publishers played a crucial role in identifying marketable subjects, commissioning artists and engravers, and bringing the final products to consumers. The success of artists like Harraden often depended on these networks.
Legacy, Collections, and Auction Records
Richard Bankes Harraden's works continue to be valued for their artistic merit and historical significance. His paintings and prints are held in various public and private collections. The Fitzwilliam Museum in Cambridge, a major repository of art, holds at least one of his watercolours, a piece measuring 173 x 250mm, described as a rare work. The presence of his art in such an institution underscores his importance as a chronicler of Cambridge.
His works also appear on the art market, as evidenced by the auction of Corpus Christi College, Cambridge at Dominic Winter Auctioneers. The estimate for this piece, while modest, indicates a consistent level of interest among collectors of British watercolours and topographical views. The archival record for College Garden (GB 2014 WS-03-PIC-002/93) further points to the preservation of his work and its recognition as a historical document.
While Harraden may not have achieved the towering fame of some of his contemporaries like Turner or Constable, his contribution to British art is significant, particularly in the niche of university views and detailed topographical work. His paintings and prints offer an invaluable window into early 19th-century Cambridge, capturing its architectural character and atmosphere with a fidelity that remains impressive. Artists like Joseph Nash, known for his Mansions of England in the Olden Time, and A.C. Pugin (father of Augustus Welby Pugin), who produced numerous architectural illustrations, worked in a similar vein, contributing to a rich visual record of Britain's built heritage.
Conclusion: An Enduring Visual Record
Richard Bankes Harraden was a dedicated and skilled artist whose life's work provides an enduring visual record of the places he depicted, most notably the University of Cambridge. His meticulous watercolours and etchings capture the architectural grandeur and picturesque charm of an era, serving as both beautiful artworks and valuable historical documents. Through his focus on Cambridge, his landscape scenes, his contributions to print series like the Costumes of the University of Cambridge and the Twenty-four Views in Indostan, Harraden carved out a distinct place in British art history.
His ability to combine topographical accuracy with aesthetic appeal ensured the popularity of his work during his lifetime and its continued appreciation today. He operated within a rich tradition of British watercolour painting and printmaking, alongside contemporaries such as John Dennis, Frederick Jukes, and in thematic alignment with artists like Thomas and William Daniell for Indian scenes, or the Norwich School painters for English landscapes. His legacy resides in the detailed and affectionate portrayals of a world on the cusp of significant change, preserving the essence of early 19th-century Britain for future generations. His works invite us to step back in time, to wander the historic courts of Cambridge or to glimpse distant lands, all through the lens of his careful and artistic eye.
