Description
William Brocas RHA (c.1794-1868) DRAWINGS AND SKETCHES some works inscribed red leather-bound sketchbook with 40 drawings loosely....... The subject matter contained in this handsome red leather-bound sketchbook is wide-ranging and confirms the view that William Brocas RHA (c.1794-1868), like the rest of his family, was a fascinating recorder of life in nineteenth century Ireland.1 Born in Dublin, the artist was the third son of Henry Brocas Senior (c.1762-1837), influential and long-standing drawing Master of the Dublin Society's School of Landscape and Ornament (appointed 14 August, 1800-37). William, like his other three brothers, James, Samuel and Henry Junior, trained under his father but unlike his brothers he tended to specialise largely in the field of portraiture, the family's strong political and social connections being a useful advantage throughout his career.2 He exhibited portraits and figure subjects as well as occasional landscapes at the RHA between 1828 and 1863 and was elected Associate and Member of the RHA in 1854 and 1860.3 He was also President of the Society of Irish Artists, who held their first exhibition at the Royal Irish Institution in College Street, Dublin, in 1843. An interpretation in watercolour and pencil of Dublin born politician and socialite, Quentin Dick (1777-1858) appears on p. 45 (drawing no. 27). Son of Samuel Dick (d.1802), a wealthy East India merchant, his mother Charlotte was the daughter of Nicholas Forster of Tullaghan, Co. Monaghan. Later, Quentin Dick's sister, Charlotte-Anne, was to marry William Hoare Hume of Humewood, Kiltegan, Co. Wicklow. The latter was elected in 1798 to fill the vacancy left by the untimely death of his father, William, shot in the Wicklow mountains by a party of rebels on 8 October 1798. After graduating from Trinity College Dublin in 1797, Quentin Dick practised as a barrister at the King's Inns, Dublin (1800). His long but not particularly distinguished parliamentary career began in 1800 as nominee of a relative, sitting in 1800 for Dunleer, Co. Louth, in the Irish Parliament. Opposed to the Act of Union, and after inheriting a substantial amount of his father's wealth, Dick entered the British Parliament by purchasing West Looe, Cornwall (held 1803 to 1806). Largely through wealth and influence, he went on to hold Orford, Suffolk (1826-30), Maldon, East Essex (1830-47) and Aylesbury, Buckinghamshire (1848-52). In 1833 he was included in Sir George Hayter's (1792-1871) group portrait of nearly 400 figures, which was presented by the government to the National Portrait Gallery, London in 1858. Dick's abilities appear to have been more celebrated on the social stage than in the political field. The presenter of many an opulent and lavish dinner party held in his house in Mayfair, his guests included Lord Walpole and Benjamin Disraeli. The genial Irish host is mentioned on a number of occasions in the Prime Minister's correspondence and was later to feature as the hospitable millionaire, Ormsby, in Disraeli's Coningsby (1844).4 The dandified 'Carrotty Quintin' died at 20 Curzon St, Mayfair, leaving a substantial fortune estimated at between £2 million to £3 million.5 Drawing no. 19 in the album connects to a pencil and watercolour drawing, half length, inscribed in pencil 'Lord Sandys', which forms part of the Windsor and London sketchbook by William Brocas (Brocas collection, NLI).6 In both portraits, the artist depicts the sitter half-length, seated on a horse, holding the reins in his left hand, and attired in the undress uniform of his regiment, the 2nd Royal North British Dragoons. On his left breast, the artist has made provision for a medal. This was the Waterloo Medal, which the sitter would have been entitled to wear.7 Arthur Moyses (Hill), Lord Sandys of Ombersley, was educated at Eton 1802-04, and in July 1809 joined the 10th Lt. Dragoons. He served in the Peninsula War on Wellington's staff and was awarded a medal following the Battle of Waterloo. From 1818 to 1836 he was MP for County Down and appears to have adopted the position of being a Whig in the Commons and a Conservative in the House of Lords. He succeeded to the peerage on 1 August 1836, the family seat being Ombersley Court, Ombersley, Worcestershire.8 This sketchbook also contains a number of light, delicate topographical views executed in pencil and include scenes recorded largely in County Wicklow, such as Glendalough (drawing no. 29), Enniskerry, (no. 26) and Tinnehinch (no. 42). A topographical watercolour and pencil view (no. 60) is also included and features the town of Bray, with Bray Bridge spanning the river Dargle and St. Paul's church perched high above the river.9 Evidence of travel further a field by this artist is demonstrated in a pencil view of Loch Long, Argyllshire, Scotland (no. 20). William, together with his brother, Samuel, sketched in Scotland throughout the 1820s and '30s, recording scenes by the shores of Lochs Long, Lomond and Achray.10 An interesting pencil study (drawing no. 43) of the ancient Benedictine Abbey of Engelberg, lying at the foot of Mt. Titlis in central Switzerland, is also included and may be connected to a journey undertaken by this artist to Hieres-sur-Amby in the south eastern corner of France.11 Many of William Brocas's genre and figure scenes reveal a wide range of subject matter and include a royal pageant (drawing no. 3), figures carrying a basket (no. 11), sawing wood (no. 49), setting out on a shooting expedition (no. 44), a child copying from a book (no. 15), a mother and child playing with their dog (no. 47), figures in conversation (nos. 5, 21, 40, 36), and a man loading a boat (no. 9). These drawings, together with the landscapes and portraits found throughout this sketchbook, confirm the sheer richness and diversity of this artist's ability to record so many aspects of Irish life. Patricia Butler Consultant, Prints and Drawings, NLI, 1990-97, and author of The Brocas Collection: An illustrated selective catalogue of original watercolours, prints and drawings in the National Library of Ireland, NLI, Dublin, 1997 1 For a general background on the Brocas family see Patricia Butler, The Brocas Collection, NLI, Dublin, 1997, and Patricia Butler, 'Introducing Mr Brocas: A Family of Dublin Artists', Irish Arts Review Yearbook, Vol. 15, 1999, pp. 80-6. 2 James Henry Brocas c.1790-1846, Samuel Frederick Brocas c.1792-1847, Henry Brocas, Junior c.1798-1873. 3 Ann M. Stewart, Royal Hibernian Academy of Arts Index of Exhibitors, 1826-1979, Vol. 1 A-G, Dublin, 1986, pp. 85-6. 4 William Flavelle Moneypenny, The Life of Disraeli, Earl of Beaconsfield, Vol. 1 (1804-1837), p. 367, and Vol. III (1846-1855), pp. 179, 234. 5 Harriette Wilson's Memoirs, London, 1929, p. 238. 6 William Brocas, Windsor and London sketchbook, NLI, catalogue nos. 2031 (TX) 12, and 2031 (TX) 10. 7 The author would like to thank F. Glenn Thompson for his help in identifying the sitter's uniform. 8 The Complete Peerage, Vol. XI, London, 1949, p. 452. 9 St. Paul's church, Bray, Co. Wicklow, was not named St Pauls until the late nineteenth century. It was deconsecrated 1 April 1977 and converted into an organ factory. See Mary Davies, That Favourite Resort: The Story of Bray, Co. Wicklow, 2007, p. 54. 10 NLI catalogue nos. 2064 (TX) 32 and 2064 (TX) 36. See also The Brocas Collection, p. viii. 11 NLI catalogue no. 2115 (TX) 39, William Brocas pencil drawing inscribed 'At Hieres - Department des Alpes maritimes'. Provenance: Bookplate of Edward S. Herbert on front pastedown
