Contact Seller
Radnorshire Fine Arts Ltd
Tel01982 570768Please quote Antiques Atlas.
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Non UK callers :
+44 1982 570768
Sir George Samuel Measom (1818–1901)
The Menai Straits from Beaumaris
Watercolour and gouache, unsigned
Mounted
A view of the Menai at low tide looking towards Penmaenmawr. From the beach at Beaumaris we can see the jetty on the left with the summits of Llwytmor to the right.
Publisher and philanthropist, Measom was born in Blackheath, Kent, on 3 December 1818, and baptized in St Alfege, Greenwich, on 12 July 1819, perhaps the eldest of the five children of Daniel Measom (b. c.1790), carver and gilder, and his wife, Mary Ann, née Coventry. He was educated at a preparatory school in Blackheath, but the early stages of his career are obscure. On 27 January 1842, when he married Sarah (1820–1865), daughter of John Hillman, fishmonger, Measom described himself as a tailor. Later in that decade he advertised his services as an engraver, an art in which he evidently had some skill. In 1849 he published a pictorial work of his own devising, The Bible: its Elevating Influence on Man, in an album of six wood engravings depicting a drunkard rescued from his addiction by exhortation.
About 1850 Measom acquired a new interest as a railway topographer which absorbed much of his energy over the next twenty years. It was furthered by his artistic skill and his sense of the power of advertising, both of which appeared again in The Crystal Palace Alphabet: a Guide for Good Children (1855), and Light from the East: Tales Moral and Instructive of Oriental Origin and Character (1856). By then Measom was describing himself as the author of the Official Railway Guides, the first of which had appeared in 1852 as The Illustrated Guide to the Great Western Railway. From the first Measom's guides were addressed to the traveller, and insisted on the practicalities of travel by rail. Passengers were advised to inquire about the services available, to consider their best route, to note where they had to change trains if the service was not direct, and to prepare themselves for their journey by equipping themselves with necessities. It evidently occurred to Measom that the standing of the guide could be improved by invoking the authority of the railway company. The guide to the Great Western was followed in 1853 by The Official Illustrated Guide to the South-Eastern Railway and all its Branches, and every succeeding volume was distinguished as ‘official’, with the company's arms on the cover and a list of the directors and officers as well as a description of its principal undertakings. By 1867, when official illustrated guides to the Irish Midland, Great Western, and Dublin and Drogheda railways appeared, the whole network was covered. Journeys to Paris and the Île de France by the Northern Railway of France were described in a supplement to the guide to the South-Eastern Railway in 1859. The guide to the Great Eastern in 1865 included a map showing connections to Naples, Vienna, and Danzig, and accounts of Antwerp and the principal towns of the Netherlands.
The sightseeing excursions proposed for a stay of six days in Paris imply a more self-assured and enterprising readership than the earlier advice on finding the railway station and buying a ticket, but the guides themselves, always sustained by their practical nature, changed as their reputation grew. From the beginning the traveller could be expected to look out of the train windows and draw some pleasure from the passing spectacle. The guides therefore described places of interest on the route, as well as at the final destination. Antiquities were well documented, and in an age before photographs could be simply reproduced Measom's skill as an engraver stood him in good stead. Commercial information was another matter. Local directories had to be collected and were not of an assured quality. There were few provincial libraries, and chambers of commerce were still inchoate. Measom, who was a fellow of the Royal Geographical Society, spoke of having travelled over the entire system, and he evidently made useful contacts wherever he went—with manufacturers of soap, chemicals, and carriages, and in Birmingham over the whole range of the city's products, including pen-nibs. In other places he singled out correspondents whose own interests were served by stocking and selling the guides, and who could inform him about the local market. The finished product attests only baldly to an endless series of inquiries, visits, and negotiations.
The guides came to an end with the 1880s, though they were revised and reissued. Measom continued to publish engravings in his later years, but having achieved a comfortable ease and competence he devoted himself to philanthropic works. He became chairman and for some time treasurer of the Royal Society for the Prevention of Cruelty to Animals, and was a promoter of the charity later known as the Battersea Dogs' Home. He was also active in supporting the hospital, later the Royal Marsden, and argued strongly for the use of the title Cancer Hospital at a time, long enduring, when such bluntness was superstitiously shunned. Following the death of his first wife, in 1867 he married Charlotte (d. 1911), daughter of George Simpson. There were no children of either marriage. He was knighted for his public services in 1891 and became a justice of the peace for Middlesex. He continued to be active to the end of his life, and under recreations in Who's Who remarked simply and convincingly ‘Never had time’. In many respects he was a perfect model of his time. He died at his home, St Margaret's Lodge, Isleworth, Middlesex, on 1 March 1901. PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
SellerRadnorshire Fine Arts Ltd
View all stock from
Radnorshire Fine Arts Ltd
Private dealer
By appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
Watercolour and gouache, unsigned
Mounted
A view of the Menai at low tide looking towards Penmaenmawr. From the beach at Beaumaris we can see the jetty on the left with the summits of Llwytmor to the right.
Publisher and philanthropist, Measom was born in Blackheath, Kent, on 3 December 1818, and baptized in St Alfege, Greenwich, on 12 July 1819, perhaps the eldest of the five children of Daniel Measom (b. c.1790), carver and gilder, and his wife, Mary Ann, née Coventry. He was educated at a preparatory school in Blackheath, but the early stages of his career are obscure. On 27 January 1842, when he married Sarah (1820–1865), daughter of John Hillman, fishmonger, Measom described himself as a tailor. Later in that decade he advertised his services as an engraver, an art in which he evidently had some skill. In 1849 he published a pictorial work of his own devising, The Bible: its Elevating Influence on Man, in an album of six wood engravings depicting a drunkard rescued from his addiction by exhortation.
About 1850 Measom acquired a new interest as a railway topographer which absorbed much of his energy over the next twenty years. It was furthered by his artistic skill and his sense of the power of advertising, both of which appeared again in The Crystal Palace Alphabet: a Guide for Good Children (1855), and Light from the East: Tales Moral and Instructive of Oriental Origin and Character (1856). By then Measom was describing himself as the author of the Official Railway Guides, the first of which had appeared in 1852 as The Illustrated Guide to the Great Western Railway. From the first Measom's guides were addressed to the traveller, and insisted on the practicalities of travel by rail. Passengers were advised to inquire about the services available, to consider their best route, to note where they had to change trains if the service was not direct, and to prepare themselves for their journey by equipping themselves with necessities. It evidently occurred to Measom that the standing of the guide could be improved by invoking the authority of the railway company. The guide to the Great Western was followed in 1853 by The Official Illustrated Guide to the South-Eastern Railway and all its Branches, and every succeeding volume was distinguished as ‘official’, with the company's arms on the cover and a list of the directors and officers as well as a description of its principal undertakings. By 1867, when official illustrated guides to the Irish Midland, Great Western, and Dublin and Drogheda railways appeared, the whole network was covered. Journeys to Paris and the Île de France by the Northern Railway of France were described in a supplement to the guide to the South-Eastern Railway in 1859. The guide to the Great Eastern in 1865 included a map showing connections to Naples, Vienna, and Danzig, and accounts of Antwerp and the principal towns of the Netherlands.
The sightseeing excursions proposed for a stay of six days in Paris imply a more self-assured and enterprising readership than the earlier advice on finding the railway station and buying a ticket, but the guides themselves, always sustained by their practical nature, changed as their reputation grew. From the beginning the traveller could be expected to look out of the train windows and draw some pleasure from the passing spectacle. The guides therefore described places of interest on the route, as well as at the final destination. Antiquities were well documented, and in an age before photographs could be simply reproduced Measom's skill as an engraver stood him in good stead. Commercial information was another matter. Local directories had to be collected and were not of an assured quality. There were few provincial libraries, and chambers of commerce were still inchoate. Measom, who was a fellow of the Royal Geographical Society, spoke of having travelled over the entire system, and he evidently made useful contacts wherever he went—with manufacturers of soap, chemicals, and carriages, and in Birmingham over the whole range of the city's products, including pen-nibs. In other places he singled out correspondents whose own interests were served by stocking and selling the guides, and who could inform him about the local market. The finished product attests only baldly to an endless series of inquiries, visits, and negotiations.
The guides came to an end with the 1880s, though they were revised and reissued. Measom continued to publish engravings in his later years, but having achieved a comfortable ease and competence he devoted himself to philanthropic works. He became chairman and for some time treasurer of the Royal Society for the Prevention of Cruelty to Animals, and was a promoter of the charity later known as the Battersea Dogs' Home. He was also active in supporting the hospital, later the Royal Marsden, and argued strongly for the use of the title Cancer Hospital at a time, long enduring, when such bluntness was superstitiously shunned. Following the death of his first wife, in 1867 he married Charlotte (d. 1911), daughter of George Simpson. There were no children of either marriage. He was knighted for his public services in 1891 and became a justice of the peace for Middlesex. He continued to be active to the end of his life, and under recreations in Who's Who remarked simply and convincingly ‘Never had time’. In many respects he was a perfect model of his time. He died at his home, St Margaret's Lodge, Isleworth, Middlesex, on 1 March 1901. PAYMENT OPTIONS
PayPal /Card transactions can be processed through PayPal on our company website. We also accept payment by cheque and bank transfer. Deferred payments can be accepted over an agreed period of time whilst paintings remain with us.
CONDITION AND PRESENTATION
In our description, if a picture is shown to be framed then the frame will be included with the sale of the picture. Unless stated otherwise all unframed watercolours, drawings and prints have been mounted onto acid-free conservation board using either Japanese hinging paper or reversible wheat starch past. Unframed and mounted pictures are then wrapped in clear polyester film to protect both the picture and the mount. All conservation work has been carried out by accredited conservators.
Price The price has been listed in British Pounds.
Conversion rates as of 28/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
DimensionsImage: 6 3/4 in x 10 1/4 in. (17 cm x 26 cm.)
Mount: 12 1/2 in x 15 3/4 in. (31.7 cm x 40 cm.)
Period Victorian Antiques
Material Paper
Origin Welsh
Condition Minor treatment and mounting has been carried out by an accredited paper conservator.
Item code as176a454
Status Sold
£0 
$0.00 
€0.00 
$
€
Conversion rates as of 28/MAY/2024. Euro & Dollar prices will vary and should only be used as a guide.
Always confirm final price with dealer. SOLD
Shipping information
All our prices include FREE packing and delivery within the UK.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
If you live outside the UK and you wish to purchase a painting, please contact us by phone or e-mail for further details concerning shipping costs.
Terms and conditions
Returns and Complaints
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
Great care and trouble has been taken to ensure that all details written for every picture are correct and the photos are of sufficient quality so that each item can be viewed in detail. If the purchaser can find a fault (by way of a photograph) as proof of damage in transit that is not present in our promotional photo i.e. a tear in the canvas, broken glass, broken frame, damage to surface of picture, then a full or part refund will be offered back to the purchaser depending on the extent of the damage. This will only apply within 24 hours of signing for the parcel.
If the parcel has arrived and appears to be damaged in some way please return the parcel to us (unopened) and we will refund the purchase price on receipt of the picture.
If the purchaser can prove with written evidence from three independent experts that our description was false or misleading in any way then a full refund will be offered back to the purchaser.
Every effort has been made to give our clients complete confidence and satisfaction when buying from our company.
View all stock from
Radnorshire Fine Arts Ltd
Private dealerBy appointment only
Powys
Mid Wales
Tel : 01982 570768
Non UK callers : +44 1982 570768
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Bamburgh Castle Emile Axel Krause
A shepherd in the snow John Atkinson
H. A. Culham 1914 Watercolour Tennyson Arthur
H. A. Culham 1913 Watercolour Tennyson Guinevere
Set of 4 Framed Watercolours of Chinese Warriors
Pair of Chinese Watercolours Chinese Dignitaries
Cathedral Interior Watercolour by Henry Schafer
Watercolour Kookaburras Birds Bush By Robin Hill
Chesapeake Bay Listed artist Norman Dinnage
Anthony Day Egg Tempera Painting The Fens
19th Century Water Colour Painting Of Ship Wreck
Horseguards, London - watercloour- Roland Henry Hill