Marlborough College in its very early days. Estimate that this was painted in the late 1840s to early 1850s, so likely within the first few years of the school’s existence (opened in 1843).
It is of what is know known as ‘Court’ – the central main area of The College. At the far end is the original building – formerly Hertford House. Minimal other building at this stage and the Mound is prominent on the right in the area where ‘A House’ appeared later. The perspective of this paintig isn’t quite right as the Mound would be a bit further over to the right.
Originally this wasn’t recognised as being by Maton. As far as we can uncover, it was purchased a while back in an auction. No artist attribution. It hung in the Master’s Lodge but recently it was moved to te office of the Master of Marlborough College Malaya when the Master’s Lodge was being revised. The recognition that it was a Maton happened recently when Maton started to be recognised as an important Marlborough artist..
The Marlborough College website tells the story behind the acquisition of this work:
‘In the late 1990’s Peter Finer, fine art dealer specialising in antique arms and armour (and father of four Marlburians), spotted that a painting of the College in its early days was going to be auctioned and he raised the alarm. Funds were found and this important piece of history was acquired. The picture is naïve in manner, but it is a fascinating depiction of the school in its early days. There is no sign of the construction of A or B House or the first chapel, so it must have been painted between 1843 and 1846. Pupils are shown engaged in various dynamic activities and groups of beaks (Masters) are scattered around Court. The artist was a little fanciful in his depiction of the uniform which these early Marlburians wore. A wide range of clothing existed, and even in the 1870s the Master, the formidable George Granville Bradley, battled with sartorial diversity.’
The style, subject, period, content and depiction of characters appear similar to Maton’s other – and attributed – works. Judgement, and possible technical examination (paints, pigments, binders) would offer a good indication as to whether it is a Maton, or not. It appears that he never signed his works so that ‘give-away’ is missing.
